Under  cover 


IB 
lalifornia 

gional 
cility 


THE  LIBRARY 
OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


GIFT  OF 


WILLIAM  P.  WEEDEN 


Cover 


•PER  MEGRUE 


UNDER  COVER 

A  MELODRAMA  IN  FOUR  ACTS 


BY 


ROI  COOPER  MEGRUE 


COPYRIGHT,   UNITED   STATES   OP   AMERICA,   JANUARY   AND 

APRIL,  1914,  BY  ROI  COOPEB  MEGRUE 

COPYRIGHT,    DOMINION   OP   CANADA,   APBIL,    1914 

COPYBIGHT,  GREAT  BRITAIN,  APRIL,  1914 

COPYRIGHT,  1918,  BY  SAMUEL  FRENCH 


ALL  RIGHTS  RESERVED 

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NEW  YORK 
SAMUEL  FRENCH 

PUBLISHXB 

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SAMUEL  FRENCH,  LTD. 

26    SOUTHAMPTON  STBXR 

STRAND 


Especial    notice    should    be    taken    that    the    possession 
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In  its  present  form  this  play  is  dedicated  to  the 
reading  public  only,  and  no  performance  of  it  may  be 
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French. 

SECTION  28. — That  any  person  who  wilfully  or  for 
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thousand  dollars,  or  both,  in  the  discretion  of  the  court. 
Act  of  March  4,  1909. 


ps 


.u 


CHARACTERS 
(In  the  order  of  their  first  appearance) 

JAMES  DUNCAN Assistant  to  Daniel  Taylor 

HARRY  GIBBS A  Customs  Inspector 

PETER A  door-keeper  at  the  Customs 

DANIEL  TAYLOR,  A  deputy  surveyor  in  the  Customs 
SARAH  PEABODY 
ETHEL  CART  WRIGHT 
AMY  CARTWRIGHT 
MICHAEL  HARRINGTON 

LAMBERT Butler  at  the  Harringtons* 

NORA  RUTLEDGE 
ALICE  HARRINGTON 
MONTY  VAUGHN 
STEVEN  DENBY 


762544 


UNDER  COVER 


SYNOPSIS  OF  SCENES 

ACT  I.  The  office  of  a  Deputy  Surveyor  of  the 
Port  of  New  York  in  the  Customs 
House,  New  York  City. 

ACT  II.  At  the  Harringtons',  Long  Island. 
(During  ACT  II  the  curtain  will  be 
lowered  for  thirty  seconds  to  in 
dicate  the  lapse  of  two  hours) 

ACT  III.  Denby's  room  at  the  Harringtons'. 

ACT  IV.  Same  as  Act  II. 

(The  action  of  the  fourth  act  is 
supposed  to  begin  at  a  time  five 
minutes  before  the  curtain  falls  on 
the  third  act) 

The  play  takes  place  during  the  afternoon  and  even 
ing  of  a  day  in  August. 


UNDER  COVER 


ACT  I 

SCENE:  Office  of  a  Deputy  Surveyor  of  the  Port 
of  Nezv  York  in  the  Customs  House,  New 
York  City.  It  is  a  plain  business-like  interior. 
There  is  a  door  left  center,  one  down  right  and 
another  down  left.  There  is  a  desk  at  up 
right,  behind  zvhich  is  a  large  bay  window, 
showing  a  view  of  tall  buildings  and  the  distant 
river.  There  is  another  desk  at  left  center. 

TIME  :  It  is  four  o'clock  on  a  Friday  afternoon  in 
August. 

DISCOVERED:  At  rise,  DUNCAN  is  seated  at  his 
desk  L.  He  is  a  miniature  DANIEL  TAYLOR  and 
as  an  actor,  must  have  authority  and  ability  to 
get  lines  over  as  the  telling  of  most  of  the  early 
plot  depends  on  him.  He  is  dressed  in  the 
uniform  of  a  customs  inspector.  As  the  cur 
tain  rises,  DUNCAN  is  in  the  middle  of  a  tele 
phone  conversation. 

DUNCAN.  (Continuing  speech  impressively) 
Yes!  Yes!  Yes!  And  say,  be  right  on  the  job. 
The  minute  the  Mauretania  gets  to  quarantine,  go 
through  the  declarations  and  'phone  me  here  whether 
Steven  Denby  declares  a  necklace  or  not.  No — 
D-e-n-b-y — it's  valued  at  two  hundred  thousand 
dollars.  You  bet  it's  a  big  case.  No;  I  can't  tell 

5 


6  UNDER  COVER 

you  who's  handling  it.     Never  mind  whether  R.  J. 

'is  at  work  on  it  or  not;  your  job  is  to  telephone 

me  as  soon  as  you  get  a  peek  at  those  declarations. 

Bye-bye. 

(GIBBS  enters  c.  door  as  DUNCAN  hangs  up  receiver. 
GIBBS  is  a  fat  man,  full  of  interest  in  any  gossip 
that  comes  his  way.  He  is  dressed  in  the 
uniform  of  a  customs  inspector.) 

GIBBS.     Hello,  Jim. 

DUNCAN.  Hello,  Harry,  thought  you  were 
searching  tourists  over  on  the  Olympic  this  after 
noon. 

GIBBS.  Oh,  I  was  with  two  thousand  crazy 
women,  all  of  'em  swearing  they  hadn't  brought  in 
a  thing.  Gosh,  women  is  liars. 

DUNCAN.     What're  you  doing  here? 

GIBBS.  I  brought  along  a  dame  they  want  your 
boss  Taylor  to  look  over.  It  needs  a  smart  guy  like 
him  to  land  her.  (Comes  down  right  to  R.  of  desk) 

DUNCAN.  The  old  man  is  down  with  the  sur 
veyor  now — he'll  be  back  soon. 

GIBBS.  I'll  be  tickled  to  death  to  wait  here  all 
day.  I'm  sick  of  searching  trunks  that's  got  nothin' 
in  'em  but  clothes.  It  ain't  like  the  good  old  days. 
In  them  days  if  you  treated  a  tourist  right  he'd 
hand  you  his  business  card  and  when  you  showed 
up  at  his  office  the  next  day  he'd  come  across  with 
out  a  squeal. 

DUNCAN.  That's  true.  Why,  when  I  was  in 
spector,  if  you  had  any  luck  picking  out  your  pas 
senger  you'd  find  twenty  dollars  lyin'  right  on  the 
top  tray  of  the  first  trunk  he  opened  for  you. 

GIBBS.  And  believe  me,  when  that  happened  I 
never  opened  any  more  of  his  trunks.  (Taking 
stage  to  center)  I  just  labelled  the  whole  bunch. 
But  now — why,  since  the  new  administration  got  in, 
I'm  so  honest  it's  pitiful. 


UNDER  COVER  7 

DUNCAN.  It's  a  hell  of  a  thing  when  a  govern 
ment  official  has  to  live  on  his  salary. 

GIBBS.  (Reflectively)  Ain't  it  funny  why  it's 
always  women  who  smuggle?  They'll  look  you 
right  in  the  eye  and  lie  like  the  very  devil — and  if 
you  do  land  'em  they  ain't  ashamed,  they're  only 
sore. 

DUNCAN.    I  guess  men  are  honester  than  women. 

GIBBS.  They  are  above  smuggling.  Why,  we 
grabbed  one  of  these  here  rich  society  women  this 
morning  and  we  pulled  out  about  forty  yards 
of  old  lace — and  say,  where  do  you  think  she  had 
it  stowed  ? 

DUNCAN.    •(Grinning)     In  a  petticoat? 

GIBBS.  No,  in  a  hot  water  bottle.  That  was  a 
new  one  on  me.  Well,  when  we'd  pinched  her  she 
just  turned  to  me  and  said,  cool  as  you 'please, 
"  You've  got  me  now,  but  damn  you,  I've  fooled 
you  lots  of  times  before." 

DUNCAN.  (Who  has  been  glancing  over  some 
papers)  Say,  here's  another  new  one.  Declaration 
from  a  college  professor  who  paid  duty  on  spending 
seventy-five  cents  to  have  his  shoes  half  soled  in 
Paris. 

GIBBS.  That's  nothing.  A  gink  this  morning  de 
clared  a  gold  tooth.  I  didn't  know  how  to  classify 
it  so  I  just  told  him  nobody'd  know  if  he'd  keep  his 
mouth  shut.  He  did  slip  me  a  cigar,  but  women  who 
are  smugglin'  seem  to  think  it  ain't  honest  to  give 
an  inspector  any  kind  of  a  tip. 

DUNCAN.  Say,  you'd  better  keep  your  own  eyes 
peeled.  Old  man  Taylor's  been  raising  the  deuce 
around  here  about  reports  that  some  of  you  fellows 
still  take  tips. 

GIBBS.  (Airily)  Oh,  that's  just  the  annual 
August  holler. 

DUNCAN.  No,  it  isn't.  It's  because  the  collector 
and  the  Secretary  of  the  Treasury  have  started  an 


8  UNDER  COVER 

investigation  about  who's  getting  the  rake-off  for 
allowing  stuff  to  slip  through.  I  heard  the  Secretary 
was  coming  over  here  to-day. 

GIBBS.  Well,  if  times  don't  change,  I'm  goin' 
into  the  police  department.  (Crosses  up  to  bay 
window  and  looks  out) 

(PETERS  enters  center.    He  is  a  uniformed  attendant 
at  the  Customs.) 

PETER.  Mr.  Duncan,  Miss  Ethel  Cartwright  just 
telephoned  that  she  was  on  her  way  and  would  be 
here  in  fifteen  minutes. 

DUNCAN.  (A  bit  excited)  She  did,  eh?  All 
right.  (PETER  exits  up  center.  In  'phone)  Hello, 
give  me  the  Surveyor's  office.  Hello — I'd  like  to 
speak  to  the  Deputy  Surveyor,  Mr.  Taylor.  It's 
Duncan  in  his  office.  (He  holds  the  wire) 

GIBBS.  Got  a  cigar,  Jim?  (Coming  down  to 
center) 

DUNCAN.     (Taking  cigar  from  pocket)     Yes. 

GIBBS.  (Crossing  to  DUNCAN  and  reaching  for 
it)  Thanks. 

DUNCAN.  And  I'm  going  to  smoke  it  myself. 
(Puts  cigar  in  his  pocket) 

GIBBS.  (Taking  cigar  from  his  own  pocket) 
All  right,  then.  I'll  smoke  one  of  my  own.  (Goes 
over  to  desk  R.  and,  getting  match,  lights  cigar) 

DUNCAN.  (In  'phone)  Hello,  hello,  chief.  Miss 
Ethel  Cartwright  just  'phoned  she'd  be  here  in  fif 
teen  minutes — Yes,  sir — I'll  have  her  wait.  (He 
hangs  up  receiver)  Well,  what  do  you  think  of  her 
falling  for  a  bum  stall  like  that? 

GIBBS.    Who?    What?    Which  stall? 

DUNCAN.     Why,  Miss  Cartwright  did. 

GIBBS.  (Crossing  to  DUNCAN)  What  is  she? 
A  smuggler? 

DUNCAN.    No,  she's  a  swell  society  girl. 


UNDER  COVER  9 

GIBBS.  (Crossing  to  center)  If  she  ain't  a 
smuggler,  what's  she  down  here  for? 

DUNCAN.  The  chief  wants  to  use  her  in  the 
Denby  case,  so  he  had  me  write  her  a  letter  saying 
we'd  received  a  package  from  Paris  containing 
dutiable  goods,  a  diamond  ring — and  would  she 
kindly  call  here  this  afternoon  to  straighten  out  the 
matter — and  she  fell  for  a  fake  like  that 

GIBBS.  I  get  you — but  what  does  he  want  her 
for? 

DUNCAN.    For  the  Denby  case. 

GIBBS.    What's  that? 

DUNCAN.  The  biggest  smuggling  job  Taylor  has 
ever  handled. 

GIBBS.  You  don't  say  so?  Why,  nobody's  told 
me  anything  about  it. 

DUNCAN.     Can  you  keep  your  mouth  shut? 

GIBBS.  Sure.  I  ain't  married.  (Sits  on  stool 
R.  of  desk  L.)  Now,  what  is  all  this  about? 

DUNCAN.  (Very  confidential)  Last  week  the 
chief  got  a  cable  from  Harlow,  a  salesman  in 
Cartier's. 

GIBBS.     Cartier's — what's  that? 

DUNCAN.  The  biggest  jewelry  shop  in  Paris. 
Harlow's  our  secret  agent  there.  His  cable  said 
that  an  American  named  Steven  Denby  has  bought 
a  pearl  necklace  there  for  two  hundred  thousand 
dollars. 

GIBBS.  (Greatly  impressed)  Two  hundred 
thousand  dollars?  Gee!  But  who's  Steven  Denby? 
A  millionaire?  I  never  heard  of  him. 

DUNCAN.  Neither  did  I,  and  what's  more,  we 
can't  find  out  a  thing  about  him.  That's  what  makes 
it  so  suspicious.  You  ought  to  be  able  to  get  the 
dope  on  a  man  who  can  throw  away  two  hundred 
thousand  dollars  on  a  bunch  of  pearls. 

GIBBS.    Did  he  slip  the  necklace  by  the  customs'? 


io  UNDER  COVER 

DUNCAN.  No,  he  hasn't  landed  yet.  He's  on  the 
Mauretania. 

GIBBS.  On  the  Mauretania?  Why,  she  gets  in 
this  afternoon. 

DUNCAN.  (More  confidential  than  ever}  Yes. 
He  and  a  fellow  named  Monty  Vaughn  are  travel 
ing  with  Mrs.  Michael  Harrington. 

GIBBS.    You  mean  the  Mrs.  Michael  Harrington  ? 

DUNCAN.     Sure.    There's  only  one. 

GIBBS.  (Rising,  crossing  to  c.)  Well,  if  he's  a 
friend  of  Mrs.  Harrington',  he's  no  smuggler. 
He'll  declare  the  necklace. 

DUNCAN.  The  chief  has  a  hunch  that  he  won't. 
(Rises  and  crosses  to  GIBBS  L.)  He  thinks  that 
Denby  may  be  a  slick  confidence  guy  who  has 
wormed  his  way  into  the  Harringtons'  friendship 
so  he  won't  be  suspected. 

GIBBS.  But  maybe  he  ain't  traveling  in  their 
party  at  all,  but  just  picked  'em  up  on  the  boat? 

DUNCAN.  No,  he's  a  friend,  all  right.  Mrs. 
Harrington's  taking  Denby  and  Vaughn  down  to 
her  country  place  on  Long  Island  direct  from  the 
dock.  The  head  steward,  he's  our  agent  on  the 
Mauretania,  sent  us  a  copy  of  her  wireless  to  old 
man  Harrington. 

GIBBS.  He  sounds  like  a  sort  of  a  smart-set 
Raffles,  doesn't  he? 

DUNCAN.  (As  he  crosses  to  desk  at  left  center} 
That's  just  the  idea. 

GIBBS.    What's  Taylor  going  to  do? 

DUNCAN.  I  don't  know ;  he's  kind  of  up  against 
it.  If  Denby's  on  the  level  and  he's  pinched  on  the 
dock  and  searched  and  nothing's  found  on  him — • 
(Crossing  GIBBS  at  c.)  think  of  the  roar  that 
Michael  Harrington — worth  ninety  billion  dollars — 
will  put  up  at  Washington  because  we  bothered  his 
friends!  Why,  he'd  go  and  kick  to  his  pals  down 


UNDER  COVER  11 

there  and  we'd  all  get  fired.  (Crosses  to  down 
corner  of  desk  right  and  picks  up  papers) 

GIBBS.  But  where  does  this  girl  out  there — Miss 
Cartwright — come  in  on  this  job? 

DUNCAN.  I  don't  know,  except  that  she's  going 
down  to  the  Harringtons'  this  afternoon,  too,  and 
Taylor's  got  some  scheme.  He's  a  pretty  smart 
boy. 

GIBBS.  You  bet  he  is,  and  maybe  he's  smarter 
than  you  know.  Ever  hear  of  R.  J.? 

DUNCAN.  R.  J.?  (Crosses  to  GIBBS  with 
papers)  You  mean  that  secret  service  agent? 

GIBBS.    Yes — they  say  he's  a  pal  of  the  president's. 

DUNCAN.     Well,  what's  he  got  to  do  with  this? 

GIBBS.    Don't  you  know  who  he  is? 

DUNCAN.  No — (Crosses  to  desk  L.)  and  neither 
does  anybody  else.  No  one  but  the  president  and 
the  secretary  of  the  treasury  know  who  he  really  is. 

GIBBS.    Well,  I  know,  too. 

DUNCAN.  (Contemptuously)  Yes,  you  do,  just 
the  same  as  I  do — that  he's  the  biggest  man  in  the 
secret  service,  that's  all. 

GIBBS.  (Crosses  to  desk  L.)  Ain't  it  funny  that 
you,  right  here  in  the  office,  don't  know? 

DUNCAN.    Don't  know  what? 

GIBBS.    Why,  your  boss  Taylor  is  R.  J. 

DUNCAN.  (Laughing)  Taylor?  You're  crazy — 
(Sits) 

GIBBS.  (Chestily)  Am  I?  Do  you  remember 
the  Stuyvesant  case? 

DUNCAN.     (Impressed)     By  George,  that's  so. 

GIBBS.    Why,  all  the  boys  are  on. 

DUNCAN.  Say,  I  wouldn't  be  surprised  if  you 
were  right. 

GIBBS.    I  know  I  am. 

(Door  slams  and  TAYLOR'S  voice  is  heard  off  R.) 
DUNCAN.     That's  the  boss  now. 


12  UNDER  COVER 

( GIBBS  nervously  fumbles  with  his  cigar  and  goes 
up-stage  to  left  of  door  u.  c.  DUNCAN  also 
gets  busy  with  papers.  TAYLOR  enters  door  R. 
hurriedly  and  crosses  to  chair  at  desk  R.  Pie 
is  an  incisive,  smart,  bull-doggy  sort  of  man, 
typical  of  the  surliness  of  a  certain  well-known 
kind  of  government  official.  He  is  a  bully, 
catering  to  his  superiors  and  ragging  his  in 
feriors.  He  must  have  much  authority,  force 
__  and  menace.) 

TAYLOR.  (To  DUNCAN)  Has  Miss  Cartwright 
got  here  yet? 

DUNCAN.    No,  sir. 

(TAYLOR  pushes  buzzer  on  desk.     There  is  a  brief 
pause.) 

TAYLOR.  (Looking  up}  Want  to  see  me, 
Gibbs? 

GIBBS.    Yes,  sir 

(PETER  enters  door  up   center  end  stands  at  the 
right  of  open  door.) 

TAYLOR.  Well,  wait  outside — come  back  in  five 
minutes. 

GIBBS.  Five  minutes.  Yes,  sir.  (He  exits  door 
up  center) 

TAYLOR.  (As  he  presses  butzer)  Peter,  let  me 
know  the  instant  Miss  Cartwright  arrives 

PETER.  Yes,  sir.  (Starts  to  exit  at  door  up 
center) 

TAYLOR.  Now  don't  forget — it's  very  important. 
That's  all — (PETER  exits  door  up  c.  TAYLOR  crosses 
below  desk  at  E.  to  DUNCAN)  Duncan,  did  Bron- 
son  from  the  New  York  Burglar  Insurance  Com 
pany  send  over  some  papers  to  me  relating  to  the 
theft  of  Miss  Cartwright's  jewels? 


UNDER  COVER  13 

DUNCAN.  Yes,  sir;  they're  here.  (Gives  them 
to  TAYLOR) 

TAYLOR.  Good.  (He  reads  them)  Ah!  By 
George,  I  was  right.  I  knew  it  was  a  cinch  there 
was  something  queer  about  her  diamonds  being 
stolen. 

DUNCAN.  (Puzzled)  What  diamonds  do  you 
mean?  The  case  wasn't  in  our  office,  was  it? 

TAYLOR.  (Still  reading  papers)  No,  this  is  a 
little  outside  job  my  friend  Bronson's  mixed  up  in, 
but  it  may  help  us.  (He  is  still  reading  the  papers) 
I'm  sure  it  was  a  frame-up,  that  she  wasn't  robbed, 
that  she  collected  from  the  company  on  a  false 
claim. 

DUNCAN.     But  I  can't  see 

TAYLOR.  No,  if  you  could,  you'd  have  my  job. 
(As  he  crosses  to  desk  right,  puts  his  hat  dozvn  on 
hat  tree  and  sits,  starts  looking  through  papers) 
Has  the  Mauretania  got  to  quarantine  yet? 

DUNCAN.     No,  sir. 

TAYLOR.  Telephone  Brown  to  notify  you  the 
minute  she  does — tell  him  we've  got  to  know  as 
soon  as  possible  whether  Denby  declares  that  neck 
lace — everything  depends  on  that ! 

DUNCAN.     And  if  he  does  declare  it? 

TAYLOR.  Then,  of  course,  we  haven't  a  case ; 
but,  somehow,  I  don't  think  there's  going  to  be  a 
declaration. 

DUNCAN.  (Nodding  his  head  and  crossing  to 
center)  Well,  I'm  holding  Ford  and  Hammet  to 
search  Denby  at  the  dock. 

TAYLOR.  Well,  keep  them  here  until  I  let  you 
know.  I'm  not  sure  whether  I  want  Denby 
searched. 

DUNCAN.  (As  he  crosses  to  upper  end  of  desk 
R.)  But,  Chief,  if  he  doesn't  declare  the  necklace, 
it'll  prove  he's  smuggling  it. 

TAYLOR.     I  know,  I  know,  but  we've  got  to  be 


i4  UNDER  COVER 

pretty  careful  about  offending  any  friend  of  Michael 
Harrington's.  He's  mighty  rich  and  very  in 
fluential.  We've  got  to  be  absolutely  sure  we  have 
the  goods  on  Denby. 

DUNCAN.  (Watching  TAYLOR  and  feeling  his 
way)  Well,  I  guess  it  won't  take  R.  J.  long  to  land 
him. 

TAYLOR.  R.  J.?  (Pauses  as  he  looks  at  DUN 
CAN)  What's  he  got  to  do  with  this? 

DUNCAN.  (Insinuatingly}  I  thought  you  might 
be  able  to  get  him  interested  in  the  case. 

TAYLOR.  (After  another  pause,  as  he  returns  to 
his  zvork)  I  don't  know  anything  about  him. 

DUNCAN.  (Skeptically,  and  looking  to  -where 
GIBBS  has  wade  his  exit)  Oh,  don't  you?  (Chang 
ing  the  subject)  Well,  if  we  don't  search  him  at 
the  dock,  what  are  we  going  to  do? 

TAYLOR.  (Looking  up  at  DUNCAN  and  leaning 
back  in  his  chair}  If  we  let  him  slide  through  and 
think  he's  fooled  us,  it  might  be  easier  to  get  him 
after  he's  down  at  the  Harringtons'  and  is  off  his 
guard. 

DUNCAN.  (Eagerly}  Have  you  got  one  of  the 
Harrington  servants  to  spy  for  us? 

TAYLOR.  No,  but  don't  you  know  that  Miss 
Ethel  Cartwright  is  leaving  this  afternoon  to  spend 
the  week-end  with  the  Harringtons'?  (Presses 
buzzer) 

DUNCAN.  You  mean  you're  going  to  get  her  to 
work  for  us  down  there? 

TAYLOR.  Well,  that  wouldn't  be  a  bad  idea, 
would  it,  Jim? 

DUNCAN.    But  how  can  you? 

TAYLOR.  That's  what  I  am  going  to  find  out  as 
soon  as  Miss  Cartwright  comes. 

(GIBBS  pokes  his  head  in  at  door  center.) 
GIBBS.    Can  I  see  you  now,  Chief? 


UNDER  COVER  15 

TAYLOR.    What  is  it? 

GIBBS.  (Coming  in)  There's  a  deaf-and-dumb 
chicken  out  here. 

TAYLOR.    A  what? 

GIBBS.  A  girl  that  can't  hear  or  speak  or  write. 
They  say  she's  smuggled  in  a  bracelet,  but  they've 
searched  her  eight  times  and  can't  get  a  trace  of  it, 
so  they  sent  her  to  you. 

TAYLOR.  Well,  they  don't  expect  me  to  se;irch 
her? 

GIBBS.  No,  but  they  thought  you  might  want  to 
hand  her  the  third  degree. 

TAYLOR.    Well,  bring  her  in. 

GIBBS     Yes,  sir.     (He  exits  at  door  up  center} 

TAYLOR.  (Significantly)  She's  probably  bluff 
ing.  Put  that  chair  over  there.  (Indicates  down 
R.  of  c.  DUNCAN  moves  chair  from  L.  of  desk  and 
returns  to  upper  end  of  desk)  We'll  try  the  gun 
gag  on  her.  There's  a  revolver  in  this  drawer. 
(Indicating  upper  left  drawer  of  his  desk)  When 
I  say  "  go,  "  you  shoot.  Got  it  ? 

DUNCAN.     (By  drawer)     Yes,  sir. 

( GIBBS  enters  c.  bringing  SARAH  PEABODY  after 
him  by  her  left  hand.  He  puts  her  in  front  of 
chair.  SARAH  PEABODY,  if  she  were  not  deaf 
and  dumb,  would  be  a  slangy  young  zvoman  with 
a  temper.  Anyhow,  she  ought  to  be  pretty. 
GIBBS  steps  to  L.  c.) 

TAYLOR.     Well,  where's  the  rest  of  her? 

GIBBS.    That's  enough. 

TAYLOR.  (Sizes  her  up  in  a  second)  Well,  tell 
her  to  sit  down. 

GIBBS.  (Crosses  to  her  and  motions}  Sit  down — 
(She  pays  no  attention  to  him)  Hay,  squattez 
vous — (Same  business)  Setzen  Sie — (Turns  away 
from  her  to  L.  c.)  I'm  done.  That's  all  the 


1 6  UNDER  COVER 

languages  I  know.  I  used  to  think  it  was  a  terrible 
thing  that  women  could  talk,  but  I  guess  the 
Almighty  knowed  more  than  I  did. 

DUNCAN.  Hey  you,  sit  down  there.  (He  grabs 
her  roughly  from  behind  and  pushes  her  in  chair. 
He  then  returns  to  upper  end  of  desk  R.  and  gets 
revolver  from  drawer  and  holds  it  behind  his  back) 

TAYLOR.  (Rises  and  comes  around  in  front  of 
desk)  She's  not  shamming? 

GIBBS.  She  ain't  spoke  all  day,  and  no  woman 
could  keep  from  talking  that  long. 

TAYLOR.    Women  do  a  lot  for  diamonds. 

GIBBS.    None  of  'em  ever  do  me  for  none. 

TAYLOR.  (Crosses  to  her  quickly  and  talks 
roughly)  If  you're  acting,  you'd  better  give  it  up 
now,  because  I'm  sure  to  find  out,  and  if  I  do,  I'll 
send  you  up  to  jail.  (Stands  back  to  R.  regarding 
her  keenly.  SARAH  stares  straight  ahead)  So  you 
won't  answer  me,  eh?  Going  to  force  my  hand,  are 
you?  (Raises  hand  and  signals  DUNCAN  by 
snapping  his  fingers)  Go.  (DUNCAN  fires  pistol. 
SARAH  does  not  wince  or  move.  TAYLOR  and  GIBBS 
bend  over  and  look  her  in  the  eye)  She's  deaf  all 
right,  that's  a  cinch.  Now,  Gibbs,  what  is  all  this? 

(TAYLOR  at  lower  end  of  desk  R.  GIBBS  crosses  to 
her.  DUNCAN  crosses  down  L.  of  GIBBS,  after 
replacing  revolver  in  drawer.) 

GIBBS.  She's  got  a  bracelet  chuck-full  of 
diamonds,  and  we  can't  find  it. 

TAYLOR.  (Sits  on  edge  of  desk)  How  do  you 
know  she's  got  it? 

GIBBS.  She  showed  it  to  the  woman  who  was  in 
the  same  cabin  with  her.  (Turns  to  DUNCAN)  She 
was  the  one  who  tipped  us  off. 

SARAH.  (Rises  suddenly  and  speaking  at  the 
same  time)  Why,  the  dirty  hussy. 


UNDER  COVER  17 

GIBBS.  (Looks  at  her,  then  at  DUNCAN,  then  at 
TAYLOR  in  great  amazement)  For  the  love  of  Mike ! 

(All  three  men  in  great  surprise — TAYLOR  quickly 
off  desk.) 

SARAH.  You  know  why  she  told  about  me ?  (To 
GIBBS)  She  wanted  to  alibi  herself,  make  you 
think  she  was  an  honest,  God-fearing  lady  that 
would  never  smuggle — and  she  had  four  times  what 
I  had. 

TAYLOR.  Ah,  ha!  (Quickly  crosses  to  SARAH. 
SARAH  turns  to  TAYLOR)  Why,  it  was  her  who  put 
me  up  to  smuggling — she  even  taught  me  to  be  deaf 
and  dumb — Gee,  I'd  like  to  meet  her  again  some 
time. 

TAYLOR.  Well,  when  we  arrest  her  we'll  need 
you  to  testify  against  her. 

SARAH.  You  can  bet  your  life  I  won't  be  dumb 
then. 

TAYLOR.     Now,  where's  your  bracelet? 

SARAH.  Wait  a  minute — what's  going  to  happen 
to  me  ? 

TAYLOR.  Produce  the  bracelet,  pay  duty  on  it, 
and  we'll  let  you  go  free  for  the  tip. 

SARAH.  You're  on.  (Parasol  in  R.  hand)  This 
is  it — (Showing  it  to  TAYLOR)  The  ring  handle  of 
my  parasol.  (Turns  to  GIBBS)  I  just  painted  it, 
that's  all. 

GIBBS.  (Grabbing  it  from  her)  Well,  can  you 
approach  that?  (Takes  bracelet  over  and  shoivs  it 
to  DUNCAN.  SARAH  takes  out  powder-puff  and 
glass,  starts  poivdering) 

PETER.  (Enters  c.)  Miss  Ethel  Cartwright  is 
here,  sir. 

TAYLOR.  Bring  her  in  in  just  a  minute.  (PETER 
exits  c.  TAYLOR  calls  the  attention  of  GIBBS  and 
DUNCAN  to  SARAH,  as  he  goes  up  to  his  desk)  Send 


18  UNDER  COVER 

this  girl  down  to  Ford,  Gibbs.  He  can  handle  her 
from  now  on. 

GIBBS.  All  right.  (Crosses  to  SARAH  and  takes 
her  left  arm} 

SARAH.  (Crosses  up  to  desk  R.)  I'll  be  glad 
to  have  someone  else  on  the  job.  I've  been  trottin' 
around  with  this  fat  guy  till  I'm  sick  of  the  sight  of 
him. 

GIBBS.     (Injured)     Say  now 

TAYLOR.  Take  her  along.  (Crosses  up  to 
window) 

SARAH.  (To  TAYLOR)  Ta-ta,  old  sport.  I  cer 
tainly  fooled  you  when  you  shot  that  gun  off.  (To 
GIBBS  as  they  go  toward  door  L.)  And  I  could 
have  kept  it  up  if  it  hadn't  made  me  sore 

GIBBS.    Ah,  come  on. 

SARAH.  — her  putting  one  over  on  me  like  that. 
And  she  was  so  blamed  nice  to  me.  But  when  one 
woman's  nice  to  another  you  can  bet  your  B.  V.  D's 
she  means  mischief.  (They  exit  L.) 

DUNCAN.  (A  bit  excited,  crosses  and  replaces 
chair  at  left  of  desk  R.  and  stands  above  desk)  You 
really  think  you  can  get  Miss  Cartwright  to  help  us 
on  the  Denby  case? 

TAYLOR.  (Crosses  to  lower  end  of  desk)  I 
shouldn't  be  a  bit  surprised. 

(PETER  opens  door  center.) 
PETER.     Miss  Ethel  Cartwright. 

(Miss  CARTWRIGHT  enters  and  comes  down  c. 
PETER  exits.  ETHEL  CARTWRIGHT  is  a  tall, 
very  pretty  woman  of  twenty-seven,  and  while 
her  manner  is  one  of  extreme  pose  that  comes 
from  perfect  breeding,  and  the  almost  uncon 
scious  knowledge  that  she  is  what  she  is,  none 
the  less  she  is,  underneath,  very  much  of  a  girl. 


UNDER  COVER  19 

She  has  a  great  deal  of  charm  and  a  decided 
sense  of  humor;  she  is  loyal  and  plucky. 
Physically  she  is  the  sort  of  woman  who,  when 
she  enters  a  room,  other  people  say  "  Who  is 
that"?  and  mentally  she  is  the  kind  that  men 
love  and  women  criticise;  and  the  one's  love 
and  the  other's  critisisrn,  are  alike  a  matter  of 
indifference  to  her.} 

TAYLOR.  (Rises,  stands  behind  desk)  Sorry  if 
I  have  kept  you  waiting,  Miss  Cartwright. 

ETHEL.  It  doesn't  matter  in  the  least.  I've  never 
been  down  at  the  customs  before.  I've  found  it 
quite  interesting. 

TAYLOR.  Won't  you  sit  down,  Miss  Cartwright? 
My  name  is  Taylor — I'm  a  deputy  surveyor. 

(ETHEL  crosses  and  sits  front  of  desk.) 

ETHEL.  I  believe,  Mr.  Taylor,  you  wanted  to  see 
me  about  a  ring. 

TAYLOR.  Yes,  the  intention  evidently  was  to 
smuggle  it  through  the  customs. 

ETHEL.  Do  you  really  think  so?  Of  course  I 
haven't  the  least  idea  who  could  have  sent  it  to  me. 

TAYLOR.  Of  course  you  haven't.  It's  probably 
some  mistake.  Perhaps,  however,  the  record  will 
shed  some  light  on  the  matter.  Duncan,  go  and  get 
those  papers  relating  to  Miss  Cartwright. 

DUNCAN.     (Blankly)     What  papers? 

TAYLOR.  (Significantly^  About  the  package  that 
was  sent  to  her  from  Paris. 

DUNCAN.  Oh,  those  papers.  Yes,  sir — (Crosses 
back  of  ETHEL  to  door  left  and  exits) 

ETHEL.  You  know,  I  feel  quite  excited  at  being 
here.  Almost  like  a  smuggler  myself. 

TAYLOR.  (Sits)  Speaking  of  smuggling,  Miss 
Cartwright,  while  we're  waiting  I'd  like  to  have  a 
little  business  chat  with  you  if  I  may. 


20  UNDER  COVER 

ETHEL.    With  me? 

TAYLOR.  Yes.  As  perhaps  you  may  know,  there 
has  lately  been  a  great  deal  of  smuggling  by  those 
prominent  in  New  York  society.  It  is  often  difficult 
to  detect  because  of  the  influence  and  position  of  the 
participants.  They  move  in  a  world  where  neither 
I  nor  any  of  my  operatives  could  enter — frankly, 
we  couldn't  pass  muster  for  a  moment.  You  follow 
me?  (Looks  at  her  sharply} 

ETHEL.     (Doubtfully}     Yes,  but 

TAYLOR.  We  are  looking  for  someone  who  be 
longs  in  society,  someone  who  is  clever  enough  to 
provide  us  with  information  and  yet  never  be  sus 
pected.  We  would  prefer  that  someone  to  be  a 
woman — above  suspicion — like  you,  for  instance. 

ETHEL.     Really,  Mr.  Taylor — (Turning  away} 

TAYLOR.  Miss  Cartwright,  I  have  reason  to  know 
that  you  and  your  family  have  been  in  financial 
difficulties — (A  look  from  ETHEL.  He  breaks  in} 
since  your  father  died.  The  position  I  describe 
could  be  made  very  profitable.  (Pauses  and  looks 
at  her}  How  would  you  like  to  enter  the  secret 
service  of  the  United  States  Customs? 

ETHEL.  Really,  that's  quite  too  preposterous. 
You  must  be  joking. 

TAYLOR.     No,  I'm  quite  in  earnest. 

ETHEL.  The  whole  idea  is  too  absurd.  I  must 
ask  you  for  the  papers  regarding  the  ring. 

TAYLOR.  They'll  be  here  any  moment.  I'm  sorry 
you  don't  care  to  entertain  my  proposition,  but  that, 
of  course,  is  up  to  you — (Rises}  Miss  Cartwright, 
as  it  happens  there's  another  little  matter  I'd  like 
to  discuss  with  you.  Do  you  recall  a  George  Bron- 
son,  the  claim  agent  of  the  New  York  Burglar  In 
surance  Company — the  company  which  insured  your 
jewels  that  were  stolen?  (Looks  at  papers} 

ETHEL.    I  think  I  do — but 

TAYLOR.    Well,  that  company  has  had  a  great  deal 


UNDER  COVER  21 

of  trouble  with  society  women  who  have  got  money 
by  pawning  their  jewels,  then  putting  in  a  claim  that 
they  had  been  stolen,  and  then  recovering  from  the 
company  on  the  alleged  loss. 

ETHEL.  Are  you  trying  to  insinuate  that — ? 
(Rises) 

TAYLOR.  Certainly  not.  .  I'm  merely  explaining 
that  that  was  Bronson's  first  idea — but  of  course, 
on  investigation  he  realized  as  I  do  now  how  ab:>urd 
that  was. 

ETHEL.     Naturally.      (Faces  front) 

TAYLOR.  And  yet  there  were  certain  things  that 
he  could  not  quite  understand. 

ETHEL.  (Turning  to  TAYLOR)  May  I  ask  what 
Mr.  Bronson's  inability  to  understand  has  to  do  with 
you? 

TAYLOR.  Simply  that  he  happens  to  be  a  very 
good  friend  of  mine.  He  often  consults  me  about 
cases  that  puzzle  him.  The  theft  of  your  jewels 
puzzled  him  greatly. 

ETHEL.     Puzzled  him?     It  was  perfectly  simple. 

TAYLOR.  Perhaps  you  will  be  good  enough  to 
tell  me  the  circumstances  of  the  case. 

ETHEL.  I  really  don't  see  how  this  concerns  the 
customs. 

TAYLOR.  It  doesn't,  except  that  I  am  acting  as 
Bronscn's  friend,  and  if  you  will  answer  my  ques 
tions,  I  may  be  able  to  recover  your  jewels  for  you. 

ETHEL.  Oh,  I  see.  (Sits)  That  would  be 
splendid.  Of  course,  I'll  tell  you  anything  I  know. 

TAYLOR.  (Sits)  Well,  the  first  feature  that  im 
pressed  Bronson — and  me — was  that  the  theft 
seemed  to  be  an  inside  job. 

ETHEL.     I  don't  believe  I  quite  understand. 

TAYLOR.  Well,  there  was  no  evidence  to  indicate 
that  a  thief  had  broken  into  your  home. 

ETHEL.    But,  that  could  be  the  only  explanation — 

TAYLOR.    Why  ? 


22  UNDER  COVER 

ETHEL.  Our  family  consists  of  just  my  mother, 
my  sister  and  myself,  and  two  old  servants  who've 
lived  with  us  for  years.  And,  of  course,  it  wasn't 
any  of  us. 

TAYLOR.  Naturally  not,  but — how  did  you  come 
to  discover  the  loss  of  your  diamonds? 

ETHEL.  Oh,  I  didn't  discover  it.  I  was  at  Bar 
Harbor. 

TAYLOR.  Oh,  you  were  away — I  didn't  know  that. 
Who  did  find  out  your  jewels  were  gone? 

ETHEL.     My  sister.     She  missed  them 

TAYLOR.  (Significantly)  Oh,  your  sister?  I 
see.  Your  sister  missed  them.  (Writes  on  paper) 

ETHEL.  So,  naturally  it  must  have  been  some 
thief  from  the  outside. 

TAYLOR.  (Thoughtfully)  Of  course,  of  course — 
I  wonder  if  you'd  mind  telephoning  your  sister  to 
come  down  here  now 

ETHEL.  (Rises)  Why,  she  came  with  me — she's 
outside. 

TAYLOR.  (Pleased)  Oh,  that  makes  it  much 
easier.  (Pushing  buzzer)  Perhaps  we  can  have 
a  little  chat  with  her. 

ETHEL.  Of  course  if  you  wish,  but  I'm  sure  she 
knows  even  less  about  the  matter  than  I  do. 

TAYLOR.  (Smoothly)  Undoubtedly,  but  pos 
sibly  there  may  be  certain  facts  that  she  could  tell 
us  that,  while  unimportant  to  you,  would  be  sig 
nificant  to  me. 

(PETER  enters  up  center.) 

ETHEL.    I'm  sure  Amy  will  tell  you  all  she  can. 

TAYLOR.  Ask  Miss  Amy  Cartwright — she's  in  the 
waiting-room — to  step  in  a  moment.  Just  say  her 
sister  wants  to  speak  to  her. 

PETER.  Yes,  sir.  (He  exits  up  center  and  leaves 
door  open) 


UNDER  COVER  23 

ETHEL.  It  must  be  quite  wonderful  to  be  a 
detective  and  piece  together  little  unimportant  facts 
into  an  important  whole. 

TAYLOR.     (Drily)     Oh,  quite  wonderful. 

(DUNCAN  enters,  stands  at  door  L.  He  is  followed 
by  AMY  CARTWRIGHT.  She  is  a  pretty  young 
girl  of  eighteen,  vjeak,  sweet  and  dependent. 
She  is  the  opposite  of  her  sister  ETHEL,  upon 
whom  sJie  relies  absolutely.) 

PETER.     Miss  Amy  Cartwright. 

AMY.    You  wanted  me,  Ethel? 

ETHEL.  (Rises,  meets  AMY  and  hugs  her) 
Yes,  dear — (Crosses  over  to  TAYLOR'S  desk,  pass 
ing  AMY  in  front  of  her.  AMY  sits)  Amy,  this  is 
Mr.  Taylor — my  sister. 

TAYLOR.     (Rising)     How  do  you  do? 

ETHEL.  Mr.  Taylor  seems  to  think  he  may  be 
able  to  help  me  recover  my  diamonds. 

AMY.  (Startled — ETHEL  is  standing  at  her  side) 
Your  diamonds! 

TAYLOR.  Your  sister  has  been  kind  enough  to 
give  me  some  information  in  reference  to  the  theft — 
1  thought  you  might  be  able  to  add  to  the  facts  we 
have. 

AMY.     I  ? 

ETHEL.  Yes,  so  you  must  answer  Mr.  Taylor's 
questions. 

AMY.    Of  course. 

TAYLOR.  (To  AMY)  How  did  you  discover 
your  sister's  jewels  were  stolen? 

AMY.  (Nervoiisly)  Why,  I— I  went  to  her 
dressing-table  one  morning  and  they  weren't  there. 

TAYLOR.  (Meaningly)  Oh,  they  weren't  there — 
then  what  did  you  do  ? 

AMY.     Why — I  telephoned  the  company. 

TAYLOR.     Without  consulting  your  sister? 


24  UNDER  COVER 

ETHEL.  But  she  couldn't  do  that.  I  told  you  I 
was  out  of  town. 

AMY.    (Relieved)    Yes,  she  was  out  of  town 

TAYLOR.  (To  AMY)  But  how  did  you  know 
your  sister  hadn't  taken  her  diamonds  with  her? 

AMY.  (Plesitating)  Why,  I  think  she  must 
have  told  me  before  she  left. 

TAYLOR.    Oh,  you  think  so ! 

AMY.     (To  ETHEL)     Didn't  you  tell  me,  Ethel? 

ETHEL.     (Reflecting)     Perhaps  I  did 

TAYLOR.  (To  AMY)  But  you  didn't  telegraph 
your  sister  to  make  sure? 

AMY.  (Frightened  and  confused)  Why,  no — 
no. 

TAYLOR.  (With  complete  change  to  genial 
manner)  Well,  as  it  happens,  that  didn't  make 
any  real  difference — (Sits)  as  long  as  the  jewels 
were  stolen — and  not  just  mislaid. 

AMY.     Yes ! 

TAYLOR.  (To  ETHEL)  Now,  one  other  point — 
regarding  the  money  you  recovered  from  the  com 
pany — please  don't  think  me  impertinent — but  you 
still  have  it — of  course? 

ETHEL.    Only  part — I  gave  half  of  it  to  Amy. 

TAYLOR.  I  rather  thought  perhaps  you'd  done 
that.  Of  course  you  realize  that  if  I  do  find  your 
diamonds  the  money  in  full  must  be  returned  to 
the  company — (Looking  at  AMY)  from  yon  both — 

AMY.     (Quickly)     But,  I  couldn't  do  that 

ETHEL.     (Surprised)     But,  Amy,  why  not? 

AMY.    I  haven't  got  all  of  it  now 

ETHEL.    But  what  did  you  do  with  it? 

TAYLOR.  (Leaning  back  in  chair)  Yes,  that's 
quite  an  interesting  question,  Miss  Cartwright. 
What  did  you  do  with  the  money? 

AMY.    I— I  paid  a  lot  of  bills 

ETHEL.  (Amazed)  You  paid  a  lot  of  bills? 
But,  Amy,  you  told  me 


UNDER  COVER  25 

TAYLOR.  (Interrupting  ETHEL)  Just  a  moment, 
Miss  Cartwright — (Sharply  to  AMY)  What  sort  of 
bills  ? 

AMY.     Why,  dressmakers,  and  hats  and  things. 

TAYLOR.  Of  course  you  have  receipts  for  the 
money  ? 

A.MY.    Why,  why,  I  don't  remember. 

TAYLOR.  Oh — you — don't — remember!  But  you 
do  remember  whom  you  paid  the  money  to? 

ETHEL.     Of  course  you  do.     Think — Amy. 

AMY.    Why,  yes. 

(DUNCAN  enters  door  left.} 

TAYLOR.    Who  was  it? 

DUNCAN.  The  collector  and  the  secretary  want 
to  see  you  right  away,  chief. 

TAYLOR.     (Annoyed)     I  can't  leave  now. 

DUNCAN.  (Apologetic)  I  explained  you  were 
busy,  but  they  said  they  must  see  you  immediately 
about  those  Amsterdam  diamond  frauds.  The 
secretary's  got  to  go  right  back  to  Washington. 

TAYLOR.  (Annoyed — rises  and  crosses  back  of 
desk,  to  DUNCAN)  Oh,  very  well.  (To  AMY  and 
ETHEL)  I  shall  have  to  ask  you  ladies  to  wait  five 
minutes  for  me. 

ETHEL.    Certainly. 

TAYLOR.  (Speaks  in  pantomime  to  DUNCAN  at 
L.)  Understand? 

(DUNCAN  nods  his  head.     TAYLOR  exits  left  and 
DUNCAN  up  center.    ETHEL  turns  and  looks  after 
TAYLOR  as  he  exits.) 

AMY.  (Hysterically  as  she  turns  to  ETHEL,  ris- 
ing)  Oh,  Ethel — they  know — they  know! 

ETHEL.    Know  what? 

AMY.  That  man  suspects — I  know  he  does — the 
way  he  spoke  to  me. 


26  UNDER  COVER 

(NOTE:     This  scene  must  be  played  in  undertones 
to  indicate  the  fear  of  being  overheard.) 

ETHEL.  What  are  you  talking  about — suspects 
what  ? 

AMY.  Oh,  Ethel,  don't  let  them  take  me  away — 
oh,  don't — don't 

ETHEL.  (Sharply — draws  a  step  a-way  from  her 
in  amazement}  What  are  you  saying? 

AMY.  Your  jewels  weren't  stolen — (Pauses)  I 
took  them — I  pawned  them. 

ETHEL.    Amy ! 

AMY.  I  took  them.  I  had  to  have  money.  A 
woman  told  me  I  could  get  it  by  pretending  to  the 
company  the  things  were  stolen  and  they'd  pay ;  and 
I  did— I  did  it. 

ETHEL.  (Stunned,  horrified — not  believing) 
Amy,  you  swindled  the  company! 

AMY.  Yes,  but  I  couldn't  help  it.  I  didn't  mean 
to— I  didn't 

ETHEL.  Why — why — why — please,  tell  me, 
why? 

AMY.  (Turns  her  head  away}  Oh,  I  lost  a  lot 
of  money  gambling — playing  bridge. 

ETHEL.    Playing  with  whom? 

AMY.  (Avoiding  ETHEL'S  gaze;  turns,  faces  R.) 
Oh,  they're  people  you  don't  know — and  one 
night — we'd  all  had  dinner  together  at  Claremont — 
and  they  wanted  to  play  bridge — I  said  no  at  first, 
but  they  insisted — I  got  excited — I  didn't  realize 
how  much  I  was  losing — I  kept  on  trying  to  get 
even  but  I  couldn't — I  lost  a  thousand  dollars. 

ETHEL.  (Looking  around  frightened)  Ssh — 
Ssh 

AMY.  Oh,  I  didn't  mean  to — (Turns  to  ETHEL) 
Ethel,  believe  me,  I  didn't — I  didn't — 

ETHEL.    What  happened  then? 

AMY.     I  couldn't  pay,  of  course,  and  the  other 


UNDER  COVER  27 

women  said  they'd  expose  me  and  tell  you  and 
mother — and  put  me  in  jail.  {Turns  azvay  to  R.) 
I  didn't  know  what  to  do.  I  went  out  of  my  head,  I 
think ;  a  man  there,  Philip  Sloane,  offered  to  lend 
me  the  money. 

ETHEL.  (Horrified')  You  didn't  borrow  from 
that  man? 

AMY.  I  did — what  else  could  I  do?  You 
weren't  here  and  I  had  to  do  something  right  away. 

ETHEL.     But  what  about  the  jewels? 

AMY.  Then  he  loaned  me  the  money — (A  step 
away  to  R.)  Oh,  I  can't  tell  even  you,  Ethel,  what 
he  said — I  never  knew  there  could  be  men  like  that. 
When  I  wouldn't — wouldn't  go  away  with  him  and 
do  as  he  wanted,  oh,  he  threatened  all  sorts  of 
things.  I  had  only  one  idea  then,  to  pay  him  back, 
no  matter  what  happened.  I  got  half  the  money 
from  the  pawn-shop  and  the  rest  from  you,  when 
the  company  settled.  I  paid  him — then  I  knew  he 
couldn't  say  anything — do  anything — Oh,  Ethel. 
(She  sinks  into  chair  left  of  desk,  crying) 

ETHEL.  (Crosses  to  AMY  slowly,  puts  her  arms 
around  her)  My  poor  sister — my  little  Amy — I'm 
so — so  sorry  for  you.  Why — why  didn't  you  tell 
me  so  I  could  help  you? 

AMY.  (Looking  up  into  her  face)  I  was  afraid 
to.  I  meant  to  tell  you  next  month,  when  we  got 
the  money  from  father's  estate.  I  thought  we  could 
pay  the  company  then,  so  I  wouldn't  be  a  thief  any 
more.  Oh,  I'm  glad  I've  told  you.  I've  been  so 
frightened. 

ETHEL.     (Soothing  her)     There — there — there — 

AMY.  And  this  man  knows.  Can't  you  see  he 
suspects — can't  you? 

ETHEL.  (Looking  toward  door  L.)  Yes,  yes, 
that's  what  he's  been  leading  up  to.  (Turns  to 
AMY)  But,  he  can't  be  sure  or  he'd  have  accused 
you  direct.  Oh,  thank  God,  you've  told  me ! 


28  UNDER  COVER 

AMY.  (Quickly}  Oh,  Ethel,  don't  let  them 
take  me  away — don't  let  them  put  me  in  prison! 
I'd  die.  Don't,  please — don't  let  them. 

ETHEL.  (Comforting  her)  Ssh — ssh — you've 
got  to  keep  control  of  yourself.  He  doesn't  know 
anything.  If  you'll  just  do  as  I  say,  I'll  save  you — 
I  promise — you  believe  me,  don't  you? 

AMY.    Yes,  Ethel,  I  believe  you. 

ETHEL.  (Standing  up)  Now,  talk  of  something 
else — anything 

AMY.  Oh,  I'm  afraid  I'll  break  down.  Can't  I 
go  home  now?  (Rises) 

ETHEL.  (Turns  up  c.,  AMY  with  her)  Yes, 
that'd  be  best;  quick,  before  he  comes  back. 
(Opens  door.  DUNCAN  is  standing  there) 

DUNCAN.     Sorry,  Miss,  but  you  can't  leave. 

ETHEL.  I'm  not  leaving — it's  my  sister — she's 
not  well — she  must  go  home. 

DUNCAN.  Neither  of  you  can  go — (He  shuts 
door.  They  come  down  center) 

AMY.    You  see,  they're  going  to  keep  me  here. 

ETHEL.  When  he  comes  back — let  me  do  all  the 
talking.  If  we  can  just  get  home,  now,  to-day, 
we'll  think  of  something.  There  must  be  a  way 
out. 

AMY.  Oh,  Ethel,  I  didn't  mean  to  steal — I  didn't 
—I  didn't. 

ETHEL.  Ssh.  I'll  invent  a  story  to  fool  him. 
He  won't  be  able  to  find  out  now  if  it's  true  or  not — 
so  he'll  have  to  let  us  go.  Then  I'm  sure  everything 
will  be  all  right. 

AMY.     Oh,  Ethel,  you're  wonderful. 

ETHEL.  Now,  sit  there.  (AMY  sits  in  chair  L. 
of  desk  at  R.  ETHEL  hears  click  of  the  door-knob 
L.  She  quickly  crosses  to  down  center  and  stands 
facing  AMY)  Yes,  Amy,  just  think,  I  read  some 
where  that  they  often  take  in  a  million  dollars  a  day 
at  the  Customs  House. 


UNDER  COVER  29 

TAYLOR.  (Entering,  coming  over  to  R.  of  desk 
at  L.  and  below  it)  Sorry  I  had  to  leave,  just  as 
matters  were  getting  rather  interesting 

ETHEL.  (Crosses  to  c.)  Nevertheless,  I  fail  to 
see  what  all  that  cross-questioning  of  my  sister  has  to 
do  with 

TAYLOR.  You  will  see,  Miss  Cartwright,  very 
soon. 

ETHEL.  Meanwhile,  I'm  afraid  I  can't  wait  any 
longer  for  the  papers  about  the  ring. 

TAYLOR.    There  isn't  any  ring. 

ETHEL.     What  ? 

TAYLOR.  That  was  merely  a  pretext — I  was 
afraid  the  truth  would  not  serve  to  bring  you. 

ETHEL.  You  asked  me  to  come  here  because  you 
thought  I'd  swindled  the  company. 

TAYLOR.    Well,  we  all  make  mistakes. 

ETHEL.    Oh,  you  admit  it's  a  mistake? 

TAYLOR.  I'm  quite  sure  of  your  innocence,  be 
cause —  (Looking  at  AMY)  well,  I  have  the  thief 
now. 

AMY.      (Startled — rises)      You  have  the  thief? 

TAYLOR.  Yes,  I've  arrested  the  man  who  robbed 
your  sister! 

AMY.     The  man? 

TAYLOR.  Yes.  Poor  devil,  he  has  a  wife  and 
children.  He  swears  they'll  starve;  but  he's  guilty 
and  he's  got  to  go  to  jail. 

AMY.    Are  you  sure  he's  guilty? 

TAYLOR.  (Leaning  forzvard)  Yes,  why?  Have 
you  any  reason  to  think  he's  not? 

AMY.    No,  no 

ETHEL.'  But  I  have  every  reason  to  believe  he  is 
innocent 

(AMY  gasps.) 
TAYLOR.    You  have  ? 


30  UNDER  COVER 

ETHEL.  Yes.  I  know  who  stole  my  jewels — it 
was  my  maid 

TAYLOR.  (Genuinely  surprised)  Your  maid? 
Why  didn't  you  tell  the  company  that? 

ETHEL.  Well,  it  was  not  till  after  the  claim  had 
been  paid  that  she  disappeared.  Then  I  got  a  note 
from  her — from  Canada,  confessing. 

TAYLOR.     Whereabouts  in  Canada? 

ETHEL.     I  don't  quite  recall. 

TAYLOR.     Oh,  what  was  your  maid's  name? 

ETHEL.     Marie  Gamier. 

TAYLOR.  (Crosses  to  desk  L.  and  sits.  Writing) 
Marie  Gamier.  (He  pushes  buzzer)  Why  didn't 
you  say  all  this  before? 

ETHEL.  What  was  the  good?  I  was  fond  of 
Marie — she  was  really  almost  one  of  the  family — I 
didn't  want  to  brand  her  as  a  thief — and  when  I 
learned  she'd  got  away  to  Canada  where  the  law 
couldn't  reach  her 

DUNCAN.     (Entering  at  center)     Yes,  sir. 

TAYLOR.  (Handing  him  paper)  Attend  to  this 
at  once  and  telephone  me  the  answer. 

DUNCAN.    Yes,  sir.     (He  exits  left) 

TAYLOR.  (Rises  and  crosses  to  ETHEL)  May 
I  ask  why  you  make  this  admission  about  your  maid 
to  me  now? 

ETHEL.  (Promptly)  Because  I  don't  want  to 
see  an  innocent  man  go  to  prison. 

TAYLOR.    Oh — did  your  sister  know  all  this,  too? 

ETHEL.    (Quickly)     No 

TAYLOR.    Why  hadn't  you  told  her? 

ETHEL.  (Innocently)  I  didn't  think  it  made  any 
difference. 

TAYLOR.  (Annoyed)  Your  behavior  is  most 
extraordinary. 

ETHEL.  (Apologetically)  I  know  so  little  about 
the  law  and  insurance  and  those  things. 

TAYLOR.     Well,  you  must  know  you  owed  it  to 


UNDER  COVER  31 

the  company  to  give  them  all  the  information  in 
your  possession. 

ETHEL.    I  really  never  thought  of  it  in  that  way. 

TAYLOR.  There  seems  to  be  a  lot  you  young 
ladies  haven't  thought  of — and  don't  remember. 

ETHEL.  I  suppose  there's  no  use  our  waiting  any 
longer.  (AMY  crosses  to  ETHEL'S  left  as  they  go  to 
door  up  c.)  Come,  Amy. 

(The  'phone  rings.} 

TAYLOR.  Just  a  moment,  Miss  Cartwright. 
(They  pause  and  turn.  In  'phone}  Hello — oh,  she 
hasn't — Good-bye.  (He  rings  off  and  crosses  to 
AMY  and  ETHEL)  Miss  Cartwright — when  you 
didn't  know  what  town  in  Canada  your  maid's  note 
came  from  I  felt  you  were  lying.  Now,  I  know  you 
were.  I  just  had  my  assistant  telephone  your 
mother.  You  haven't  had  a  maid  for  over  a  year 
and  your  last  maid's  name  was  Susan.  You  put  the 
blame  on  a  woman  who  doesn't  exist  because  it  was 
your  sister  who  stole  your  jewels. 

ETHEL.     She  didn't — she  didn't 

TAYLOR.  (To  AMY)  You  swindled  that  com 
pany. 

AMY.  {Weakly}  No,  no — (Crosses  around  in 
front  of  ETHEL  and  to  her  R.) 

ETHEL.  How  dare  you  make  such  an  accusation, 
when  neither  you  nor  the  company  has  any  proof? 

TAYLOR.  Quite  true  now — but  when  we  get  the 
proof- 


ETHEL.    You  can't,  because  there  isn't  any- 


TAYLOR.  (To  ETHEL)  Now,  see  here,  you're 
just  trying  to  protect  your  sister;  that's  very 
natural,  but  it'll  go  easier  with  you  both  if  you'll 
tell  the  truth.  (AMY  starts  to  speak — ETHEL  stops 
her}  You  won't  answer,  either  of  you?  Well,  of 
course  the  stuff's  pawned  some  place.  That's  what 


32  UNDER  COVER 

they  all  do — Bronson  only  searched  the  pawnshops 
in  New  York.  He  didn't  give  you  credit  for  pawn 
ing  'em  out  of  town,  but  I  do.  Now  we'll  see  where 
your  sister  did  go — (Going  to  'phone  at  desk  left. 
AMY  slowly  to  desk  R.)  Hello,  give  me  Ford — that 
you,  Bill?  Go  over  to  Bronson  at  the  New  York, 
get  a  description  of  the  jewels  reported  stolen  from 
a  Miss  Ethel  Cartwright  and  have  all  the  pawn 
shops  searched  in — (ETHEL  gives  AMY  a  quick 
look.  He  pauses  after  naming  each  town,  eye 
ing  AMY)  Trenton — Boston — Washington — Provi 
dence — Baltimore — Albany — Philadelphia —  (AMY 
gives  a  gasp.  To  AMY,  triumphantly,  as  he  hangs 
up  receiver  and  crosses  to  ETHEL)  So  you  pawned 
them  in  Philadelphia. 

ETHEL.     (Frantic')     No,  no,  I  did  it 

TAYLOR.  No,  you  didn't.  You're  only  trying  to 
shield  your  sister.  (To  AMY)  You're  the  thief. 

AMY.    (Breaking  in)    Yes,  yes,  I  did  it — I  did  it. 

ETHEL.     Amy,  don't  speak,  don't — don't. 

AMY.  But,  I  didn't  mean  to — I  didn't — Oh,  don't 
put  me  in  prison. 

TAYLOR.  (To  AMY)  Young  woman,  you're 
under  arrest. 

ETHEL.  (Turning  to  TAYLOR)  No,  no,  don't 
take  her — take  me.  She's  only  a  child ;  don't  spoil 
her  life.  I'll  go.  I'll  do  whatever  you  like;  it 
doesn't  matter  about  me.  For  God's  sake,  don't  do 
anything  to  my  sister. 

TAYLOR.    She's  guilty,  and  the  law 

ETHEL.  Please  don't  send  her  to  prison.  If  some 
one  pays,  what  difference  does  it  make  to  you?  If 
you'll  just  let  her  go,  I'll  do  anything.  Isn't  there 
anything  I  can  do? 

TAYLOR.  (After  a  pause)  Yes,  there  is.  You 
can  accept  my  proposition  to  enter  the  secret  service 
of  the  United  States  Customs. 

ETHEL.     Oh,  yes,  yes,  anything. 


UNDER  COVER  33 

TAYLOR.  Now,  you're  talking.  Then  we  won't 
send  your  sister  to  prison. 

AMY.     Oh!     (She  breaks  down,  sobbing) 

ETHEL.    You  won't  tell  Bronson? 

TAYLOR.    No. 

ETHEL.    Ah ! 

TAYLOR.  Now  that  I  realize  the  situation,  I  am 
very  sorry  for  you  both,  so  suppose  we  leave  that 
little  episode  of  the  jewels  as  between  your  sister 
and  her  conscience,  so  long  as  you  do  what  I  ask. 
I'll  let  you  know  when  I  need  you.  It  may  be  to 
night,  it  may  be  in  a  month,  but  when  I  v/ant  you — 

ETHEL.    I  shall  be  ready. 

(AMY  crosses  up  to  door  center,  and  stands  quietly 
crying. ) 

DUNCAN.  (Entering  L.,  crosses  to  lower  end  of 
desk)  Say,  chief 

TAYLOR.    Get  out.    I'm  busy 

DUNCAN.  I  thought  you'd  want  to  know  the 
Mauretania's  coming  up  the  bay  now. 

TAYLOR.  She  is ! — Wait  a  minute.  Now  good- 
afternoon,  Miss  Cartwright.  Remember  what's  at 
stake — your  future — your  sister's  happiness,  my 
silence,  depend  on  your  not  failing  me. 

ETHEL.  (With  a  break  in  her  voice)  I  shall  not 
fail  you.  (She  takes  AMY  out  c.) 

(TAYLOR  goes  up  and  closes  door.) 

TAYLOR.  (Crosses  D.  R.  c.)  Did  Brown  'phone 
you  from  quarantine? 

DUNCAN.  Yes,  sir,  Steven  Denby  did  not  declare 
the  necklace. 

TAYLOR.  Ah,  then  I  was  right — Denby  is  trying 
to  smuggle  it 


34  UNDER  COVER 

DUNCAN.  I've  got  Ford  and  Hammet  all  ready 
to  meet  him  at  the  dock. 

TAYLOR.    Don't  send  'em — there's  to  be  no  search. 

DUNCAN.    No  search? 

TAYLOR.  Let  'em  slide  through  with  the  ordinary 
examination.  Trail  'em  to  Long  Island,  to  be  sure 
they  don't  slip  it  to  someone  on  the  way — but  no 
fuss,  no  arrests.  Meanwhile  get  up  a  warrant,  a 
fake  warrant,  for  the  arrest  of  Miss  Amy  Cart- 
wright.  It  may  come  in  handy. 

DUNCAN.    Yes,  sir. 

TAYLOR.  (Crosses  tip  to  hat-tree)  Now  change 
your  clothes.  Bring  Gibbs  with  you;  meet  me  at 
the  Pennsylvania  station  at  six  o'clock. 

DUNCAN.    Where  are  we  going? 

TAYLOR.  (Turning  at  door  c.)  To  Long  Island 
to  call  on  Miss  Ethel  Cartwright. 

DUNCAN.  (Excited — starts  up  a  step)  Then 
you  can  use  her  to  land  Denby? 

TAYLOR.  Use  her?  (With  grim  humor)  Say, 
Jim,  she  doesn't  know  it,  but  she's  going  to  get  that 
necklace  for  me  to-night!  (He  exits  hurriedly 
center  door  as 

Curtain 


UNDER  COVER  35 

ACT  II 

SCENE  I 

SCENE  :  The  scene  is  the  large  hall  or  living-room 
of  the  HARRINGTON  country  home  on  Long 
Island.  The  furnishings  and  atmosphere  should 
be  charming,  and  while  simple,  indicate  the  good 
taste  and  the  wealth  of  the  owners.  There  are 
two  French  windozv  right  center,  leading  out  to 
the  lawn  and  double  doors  right,  to  the  dining- 
room,  and  one  at  up  left  to  the  library ;  an  alcove 
at  up  left  center  are  in  which  are  the  first  half 
dozen  steps  and  the  landing  of  a  flight  of  stairs 
leading  to  the  floor  above.  There  is  a  table  at 
left  center,  chairs  around  it,  and  a  fireplace  at 
left  zvith  a  club  fender  and  a  half-folded  screen. 
The  back  drop  indicates  a  lawn  and  distant 
trees. 

AT  RISE  :  MICHAEL  HARRINGTON  in  armchair  L.  of 
table  L.,  reading  a  paper  and  sipping  a  Scotch 
high-ball.  On  the  table  is  a  bottle  of  Scotch, 
a  syphon  and  also  a  pint  bottle  of  champagne — 
HARRINGTON  is  a  man  of  fifty-five  or  sixty, 
genial,  charming  and  with  a  sense  of  humor. 
He  is  in  love  with  his  zvife,  although  he  is 
always  by  way  of  poking  fun  at  her  and 
she  at  him.  His  desire  for  highballs  is  more  of 
a  hobby  because  his  wife  forbids  his  drinking 
rather  than  a  real  keenness  for  alcohol.  He  is 
conscious  of  his  own  frailty.  There  is  a  toot 
of  a  motor-horn  heard  in  the  distance. 

LAMBERT.      (Enters  R.   and   crossing  to   center. 
LAMBERT  is  a  smart  English  butler)     Please,  sir, 


36  UNDER  COVER 

the  car  is  just  coming  up  the  drive.  Mrs.  Harring 
ton  is  in  it. 

MICHAEL.  (Rising  hastily  and  crossing  to  up 
center}  Good — my  wife !  The  boat  must  have 
docked  early — (Crosses  R.  toward  door  R.) 

LAMBERT.    Yes,  sir. 

MICHAEL.  Get  rid  of  these.  (Indicating  bottles. 
LAMBERT  crosses  to  table  and  gathers  up  bottles, 
glasses,  etc.)  And  not  a  word,  Lambert,  not  a 
word. 

LAMBERT.  (As  he  backs  to  L.  2)  Certainly  not, 
sir — I  quite  understand.  I  was  valet  to  an  English 
lord  for  seven  years.  You  can  rely  on  me,  sir. 
(He  exits  u.  L.  with  the  tray.  The  motor-horn  is 
heard  full  blast  off  R.  NORA  RUTLEDGE  is  heard 
calling  off  R.) 

(NORA  is  a  clever  young  ingenue  of  twenty-tivo  or 
twenty-three,  with  a  tendency  toward  pert  re 
marks,  zvhose  pertness  must  be  removed  by 
the  charm  of  her  own  personality.) 

NORA.  (Excitedly  off-stage}  Mr.  Harrington! 
Mr.  Harrington!  Alice  is  here — (Enters  door  R., 
comes  R.  of  table  c.)  Alice  is  here,  and  Monty 
Vaughn  is  with  her. 

MICHAEL.  Fine,  fine.  How  is  she — have  they 
had  a  good  voyage?  (ALICE  HARRINGTON  enters 
door  R.  and  rushes  into  MICHAEL'S  arms}  By 
George,  I'm  glad  to  see  you.  (He  leads  her  down 
to  front  of  table  down  left} 

(ALICE  HARRINGTON  is  a  delightful  woman  of 
thirty-four,  in  love  with  her  husband,  aware  of 
his  foibles,  humoring  them  and  yet  maintaining 
a  maternal  watchfulness  over  him.  She  is  very 
smart.  She  has  an  ingenuous  rcalizaton  of 
her  own  sarcasm  and  irony  that  takes  the  sting 


UNDER  COVER  37 

out  of  her  remarks.    She  is  never  bitter,  merely 
humorous.) 

ALICE.  (In  his  arms,  patting  him  on  back)  You 
dear  old  thing. 

NORA.  (R.  of  table  as  MONTY  VAUGHN  enters. 
MONTY  is  a  good  looking  young  man  of  twenty-five 
or  twenty-six  years,  with  a  slight  mustache  which 
he  is  continually  fussing  with.  He  is  DENBY'S  op 
posite — timid,  high  strung,  nervous,  but  basically 
not  really  a  coward)  Hello,  Monty. 

MONTY.  (Shaking  her  hand  enthusiastically) 
It's  bully  to  find  you  here,  I  nearly  hugged  you. 

NORA.     Well,  why  didn't  you? 

MONTY.  (Stretching  out  arms)  I've  half  a 
mind  to. 

NORA.  No,  not  now.  It's  cold.  Hugs  must  be 
spontaneous. 

ALICE.     (To  NORA)     Where's  Ethel? 

NORA.  We  didn't  expect  you  for  another  half 
hour — she's  upstairs,  changing,  she'll  be  down  in  a 
minute. 

MONTY.  (Over  to  c.)  I  say,  old  man,  why 
weren't  you  down  at  the  dock  ? 

MICHAEL.     Wife's  orders. 

ALICE.  (Crosses  to  MICHAEL)  I  should  say  so. 
I  know  of  no  greater  nuisance  than  having  people 
meet  you  at  the  pier.  (To  MICHAEL)  You  were 
very  obedient. 

MONTY.     The  perfect  husband. 

ALICE.      (Smiling)     Well,  I  shouldn't  say  that. 

MONTY.  (To  ALICE  as  he  looks  at  his  hands) 
If  you  don't  mind,  I'll  go  up  and  wash  up — (Crosses 
to  door  right,  to  NORA)  I've  got  almost  all  of 
Long  Island  in  my  eyes. 

(ALICE  and  HARRINGTON  move  L.  so  that  ALICE  can 
sit  in  armchair.) 


38  UNDER  COVER 

NORA.  Go  ahead — perhaps  you'll  be  able  to  see 
me  better  then. 

MONTY.  I  couldn't  see  you  better  if  I  tried. 
I'll  meet  you  in  the  pagoda  in  five  minutes.  (As  he 
goes)  It's  mighty  nice  to  see  a  pretty  girl  again, 
who  talks  American. 

NORA.  As  if  men  cared  what  girls  say — it's  the 
way  they  look  that  counts. 

(  MONTY  exits  door  R.) 

MICHAEL.  (To  ALICE)  Did  you  have  a  good 
trip? 

ALICE.  (Sits  in  chair  L.  of  table)  Bully — 
Steven  Denby's  most  attractive  and  mysterious. 

(NORA  goes  slowly  to   chair  L.   table,  and  kneels 
on  it.) 

MICHAEL.  (L.  to  ALICE — back  to  fire)  Denby? 
Oh,  yes,  I'd  quite  forgotten  he  was  coming.  Where 
is  he? 

ALICE.  The  limousine  was  so  full  of  Monty  and 
me  and  bags  and  things,  we  put  him  in  the  big  car. 
They  had  a  blow  out  five  miles  from  here  but  he'll 
be  along  presently. 

NORA.    What  Mr.  Denby  is  he? 

MICHAEL.  Yes.  I  never  heard  of  him.  Who  is 
he? 

ALICE.  Perhaps  that's  what  makes  him  so 
mysterious.  I  haven't  the  least  idea. 

MICHAEL.  Then  why  on  earth  have  him  down 
here? 

ALICE.  Because  Monty  suggested  it.  They  went 
to  school  or  college  or  something  together — and  be 
cause  even  if  I  am  married  (Smiling  at  MICHAEL) 
love  has  not  made  me  blind  to  other  charming  men. 
(Light  laugh) 


UNDER  COVER  39 

NORA.     Will  I  like  him? 

ALICE.  I  did  the  minute  I  met  him.  He  has 
a  sort  of  "  come  hither  "  in  his  eyes  and  the  kind  of 
hair  I  always  want  to  run  my  hand  through.  You 
will  too,  Nora. 

NORA.  But  you  see  I'm  not  a  married  woman, 
so  I  haven't  your  privileges. 

ALICE.  Don't  be  absurd.  I  haven't  done  it — but 
I  may. 

MICHAEL.    I  don't  in  the  least  doubt  it. 

ALICE.  He  has  such  an  air — sort  of  secret  and 
wicked.  He  might  be  a  murderer  or  something 
fascinating. 

MICHAEL.     Splendid  fellow  for  a  week-end. 

ALICE.  (Looks  at  her  watch.  Rises  and  is  going 
toward  stairs}  Heavens!  I  ought  to  dress. 

NORA.  (Conies  round  R.  of  table  and  up  L.  to 
stairs)  Come  on,  I  can't  imagine  what's  keeping 
Ethel. 

MICHAEL.  (As  ALICE  moves  toward  stairs)  Oh, 
just  a  minute,  Alice. 

ALICE.    Run  along,  Nora,  I'll  be  right  up. 

NORA.  I'll  go  wait  for  Monty — I  think  you're 
going  to  be  lectured.  (She  exits  at  French  window 
to  right} 

ALICE.    What  is  it? 

MICHAEL.  (Brings  her  down  to  L.  of  table — she 
is  on  his  R.)  I  just  wanted  to  tell  you  how  mighyt 
glad  I  am  to  see  you. 

ALICE.  And  Mikey  dear — I'm  mighty  glad  to  see 
you. 

MICHAEL.  Are  you  really?  You're  not  missing 
Paris. 

ALICE.  Oh,  Paris  be  hanged !  I'm  in  love  with 
a  man — not  a  town. 

MICHAEL.     It's  still  me? 

ALICE.  Always  you !  One  big  reason  I  like  to  go 
abroad  is  because  it  makes  me  so  darned  glad  to  get 


40  UNDER  COVER 

back  to  you.  (She  sits  on  arm  of  chair  left  of 
table} 

MICHAEL.  (Playfully  reproving)  See  here,  now, 
every  time  I  want  a  little  trot  around  the  country 
and  suggest  leaving  you,  you  begin 

ALICE.  Oh,  that's  very  different.  When  we  do 
separate  I  always  want  to  be  the  one  to  leave,  not  to 
be  left. 

MICHAEL.  (Nodding  his  head)  It  is  much  easier 
to  go  than  to  stay.  I've  been  pretty  lonely  here 
these  last  six  weeks. 

ALICE.    Even  with  all  the  Scotch  you  wanted? 

MICHAEL.  (Crossing  to  ALICE)  'Tisn't  nearly 
as  much  fun  to  drink  when  you're  away.  It  takes 
the  sport  out  of  it  not  to  be  stopped. 

ALICE.    Fibber ! 

MICHAEL.  (Crossing  to  left)  Well,  most  of  the 
sport.  Do  you  know  I  sometimes  wonder  whatever 
made  you  marry  me. 

ALICE.  Sometimes  I  wonder,  too.  (Rises,  crosses 
to  HARRINGTON)  But,  not  often.  I  really  think 
we're  the  ideal  married  couple. 

MICHAEL.  Do  you  honestly?  (Holding  her  off 
at  arm's  length) 

ALICE.  Yes.  We're  sentimental  when  we're 
alone  and  critical  when  we've  guests. 

MICHAEL.  That's  true — most  people  hate  each 
other  in  private  and  love  each  other  in  public.  (He 
takes  hold  of  her  hand) 

ALICE.    You're  a  dear  old  thing. 

MICHAEL.  Do  you  know,  I  don't  feel  a  bit 
married?  I  just  feel  in  love. 

ALICE.  That's  the  nicest  thing  you  ever  said  to 
me.  (She  kisses  him)  But  I  must  find  Ethel. 
(Crosses  up  to  stairs) 

MICHAEL.  You  know  you've  made  me  fairly 
dizzy.  I  need  a  drink  to  sober  up. 


UNDER  COVER  41 

ALICE.  (Crossing  to  him)  I  believe  you've  been 
trying  to  get  around  me  just  for  that. 

MICHAEL.     Oh,  no,  you  don't. 

ALICE.  No,  I  don't,  Mikey.  (Crosses  up  on 
first  platform) 

(MONTY  and  NORA  enter  at  French  window.) 

NORA.  (L.  of  MONTY  by  window)  Heavens, 
still  lecturing,  you  two? 

MONTY.  (As  MONTY  and  NORA  cross  down 
center)  You  do  look  rather  henpecked,  Mr. 
Harrington. 

MICHAEL.  Yes,  we've  been  having  a  dreadful 
row. 

ALICE.  Now,  I  am  going  upstairs  to  see  Ethel. 
(She  exits.  MICHAEL  waits  till  she  has  gone  up 
stairs  then  crosses  to  table) 

MICHAEL.  I'll  think  I'll  go  for  my  one  solitary 
cocktail — (Crosses  back  of  them  and  turns.  NORA 
crosses  to  table)  in  my  own  private  bar,  but  keep 
that  confidential.  (He  exits  R.  There  is  a  slight 
pause) 

MONTY.  (Going  toward  French  windows)  I 
wonder  where  the  deuce  Steve  is?  A  blowout 
oughtn't  to  keep  him  all  this  time. 

NORA.  (In  front  of  table)  What's  the  matter 
with  you,  Monty? 

MONTY.  Me?  (Turns  to  her)  Nothing.  (Sud 
denly)  What's  that? 

NORA.     What? 

MONTY.     Oh,  nothing. 

NORA.  (Crosses  tozvard  couch)  You  never 
used  to  have  a  nerve  in  your  body — now — you  jump 
at  everything. 

MONTY.  (Coming  down  to  her  L.)  Why,  I 
guess  I'm  a  bit  nervous.  Steve  and  I  are  in  a  big 
deal  together — and  it's  got  me  sort  of  anxious. 


42  UNDER  COVER 

NORA.  You  don't  mean  to  say  you've  gone  into 
business  ? 

MONTY.  Well,  it's  not  exactly  business — -it's 
something  secret. 

NORA.    Well,  if  it  frightens  you  so,  why  go  in  it? 

MONTY.  Well,  everything  was  sort  of  tepid  in 
Paris. 

NORA.    Tepid — in  Paris? 

MONTY.  Well,  even  Paris  can  get  like  that  when 
you  live  there.  I  wanted  excitement,  and  when 
Steve  told  me  about  the  scheme 

NORA.  (She  kneels  at  L.  end)  Oh,  if  it's  exciting, 
tell  me  about  it. 

MONTY.  (Sits  on  left  arm)  I  wish  I  could  but 
I  promised  Steve.  We're  pretty  old  friends. 

NORA.  I  know,  know.  You  and  he  went  to 
college  together  and  sang  a  "  stein  on  the  table  " 
and  went  on  sprees  together  and  made  love  to -the 
same  girls,  and  played  on  the  same  teams.  I  know 
all  that  college  stuff. 

MONTY.    But  we  didn't  go  to  college  together. 

NORA.    But  Alice  said  you  did. 

MONTY.     (Anxiously)     Oh,  did  she? 

NORA.  Well,  anyhow,  don't  be  reminiscent, 
Monty.  I  hate  reminiscences.  They  make  me  so 
darned  envious.  I  wish  I'd  been  a  man. 

MONTY.     (Smiling)     I  don't. 

NORA.    Don't  try  to  flirt  with  me. 

MONTY.    Why  not? 

NORA.     You  don't  know  how. 

MONTY.    Teach  me. 

NORA.  It  can't  be  taught.  It's  got  to  be  born 
in  you.  (Sits  on  couch.  Pauses,  looks  down) 
Well,  go  on. 

MONTY.  (Rises,  crosses  dozvn  left  center.  Re 
flectively)  I  wonder  where  Steve  is. 

NORA.  (Exasperated)  You're  hopeless.  I  don't 
know  where  Steve  is  and  frankly  I  don't  care.  I 


UNDER  COVER  43 

hope  he's  under  the  car  with  gasolene  dripping  in 
his  eyes. 

MONTY.  (Coming  to  her,  suddenly)  Do  you 
know,  Nora — {Kneeling  on  couch)  for  the  last  year 
there's  been  something  trembling  on  my  lips. 

NORA.  (Ecstatically)  Oh,  Monty,  don't  shave 
it  off — I  love  it.  (  MONTY  down  center,  then  up  to 
French  window) 

(ALICE  and  ETHEL  come  downstairs  in  order  named. 
MICHAEL  enters  from  right  at  the  same  time, 
wiping  mustache — works  back  to  L.  of  ETHEL.) 

NORA.     (Rising)     Here's  Ethel. 
ALICE.     Monty,  I  want  you  to  know  my  very 
best  friend,  Miss  Cartwright,  Mr.  Vaughn. 

(MONTY  goes  to  ETHEL  at  back  of  table.) 

ETHEL.     (Offering  hand)     How  do  you  do. 

MONTY.  (At  back  of  table.  Shakes  her  hand. 
ALICE  to  stool  R.  of  table,  sits)  How  do  you  do? 

MICHAEL.  (At  fireplace)  Be  kind  to  him, 
Ethel ;  he's  a  nice  boy. 

NORA.     (Sitting  on  couch)     And  an  awful  flirt. 

MONTY.    Oh,  I  say. 

ALICE.     (Sitting  on  stool)     Are  you  a  flirt? 

MONTY.    No. 

ALICE.  Of  course,  he  never  flirts  with  me.  That's 
the  penalty  of  age.  I've  known  him  a  disgracefully 
long  time — ever  since  the  Palisades  were  that  high. 

(NORA  sits  on  couch.    MONTY  to  couch  back.) 

ETHEL.  (Down  to  armchair  L.  of  table)  I'm 
sorry  I  couldn't  get  down  to  the  dock  to  meet  you, 
Alice. 

ALICE.     Thank  heaven  you  didn't. 


44  UNDER  COVER 

ETHEL.    But  I  had  some  business 

MICHAEL.  Business  in  August — I  say,  you  do 
look  a  bit  fagged — no  bad  news  I  hope. 

ETHEL.  (Nervously)  I  was  afraid  it  might  be 
but  it  came  out  better  than  I  hoped. 

ALICE.    How's  Amy? 

ETHEL.     (Nervously)     Oh,  she's  all  right. 

MICHAEL.    We  ought  to  have  had  her  down  here. 

ALICE.  No,  we  shouldn't.  I  didn't  intend  it  to 
be  a  big  party,  and  anyhow  young  men  are  scarce  in 
August. 

MONTY.     I  wonder  where  the  deuce  Steve  is? 

ALICE.    I  hope  he  hasn't  gone  over  the  cliff. 

MICHAEL.  So  do  I.  It  was  a  mighty  good  car, 
almost  new. 

ETHEL.    Is  someone  else  coming? 

( MONTY  crosses  to  back  of  couch.) 

ALICE.  A  perfectly  charming  man — Steven 
Denby. 

ETHEL.     (Her  face  lighting  up)     Steven  Denby? 
ALICE.    Yes,  do  you  know  him? 
ETHEL.     Indeed,  I  do. 

(NORA  rises.) 

MONTY.  (Surprised)  You  know  Steve? 
(Crosses  to  table) 

NORA.  (Crosses  to  ALICE.  Over  beside  ALICE) 
Tell  us  about  him. 

MICHAEL.    Who  is  he? 

( MONTY  drops  down  R.) 

ALICE.     Isn't  he  fascinating? 
ETHEL.     I  know  him,  and  that's  really  all  I  can 
tell  you.    I  met  him  in  Paris  a  year  ago. 


UNDER  COVER  45 

ALICE.     Didn't  you  like  him? 

ETHEL.    Yes,  I  did,  very  much. 

NORA.  Well,  he's  evidently  yours  for  the  week 
end. 

ETHEL.  Oh,  I  daresay  he  won't  even  remember 
me. 

NORA.  Oh,  I  bet  he  will  and  I'll  just  have  to 
stick  around  with  Monty.  (Turns  to  him,  and 
crosses  to  him) 

MONTY.  (Crosses  to  NORA  and  grandly)  Oh,  I 
don't  particularly  mind. 

(Dressing-bell  rings  off-stage.) 

MICHAEL.     Time  to  dress,  good  people. 

ALICE.  (Turning  at  stairs)  Come,  Nora;  come, 
Monty.  ( MONTY  quickly  to  stairs  and  up)  You'll 
have  to  amuse  yourself,  Ethel ;  you  can't  depend  on 
Michael. 

( MONTY  exits  upstairs.) 

MICHAEL.    Quite  right,  my  dear. 

NORA.  I  think  I'll  strum  a  bit.  (She  exits  door 
right) 

MICHAEL.  (Crosses  door  R.)  I'm  going  for  my 
one  solitary  cocktail. 

ALICE.     (At  stairs)     And  only  one ! 

MICHAEL.     (At  c.)     My  dear,  you  know  me. 

ALICE.  That's  why  I  said  only  one.  And  wait 
for  Mr.  Denby.  Tell  him  we'll  be  down  in  a  minute. 

MICHAEL.    I'll  send  him  in  to  Ethel. 

(ALICE  exits  upstairs.) 
ETHEL.    Yes,  do. 

(MICHAEL  exits  door  R.,  motor-horn  is  heard 
in  distance.  ETHEL  crosses  in  front  of  table, 
goes  up  and  looks  out  of  French  window. 


46  UNDER  COVER 

Motor-horn  is  heard  in  short,  full  blasts. 
ETHEL  goes  down  to  back  of  couch  and  ar 
ranges  herself  in  anticipation  of  DENBY'S 
arrival.  Confused  murmur  heard  off,  of 
MICHAEL  welcoming  DENBY.  STEVEN  DENBY 
enters  R.  DENBY  is  a  young  man  of  thirty  or 
thirty-one,  charming,  good  looking,  with,  as 
MRS.  HARRINGTON  says,  a  "  come  hither "  in 
his  eye.  He  is  cool,  self-possessed,  quiet.  Noth 
ing  ruffles  him.  He  takes  adventures  as  they 
come,  and  lets  them  come  often.  He  is  the 
kind  that  women  pursue  and  yet  men  respect. 
He  is  a  mart's  man  and  yet  a  woman's  lover. 
He  crosses  toward  stairs.) 

DENBY.  (Most  enthusiastically,  crosses  to  her 
at  c.  offering  his  hand)  Why,  how  do  you  do,  Miss 
Cartwright  ? 

ETHEL.  (At  c.,  graciously  shaking  hands)  How 
do  you  do,  Mr.  Denby? 

DENBY.  Mr.  Harrington  said  there  was  a  sur 
prise  in  here  for  me,  but  I  had  no  idea  it  would  be 
so  delightful — how  are  you? 

ETHEL.     (Gaily)     Splendid — and  you? 

DENBY.    Grateful  to  be  here 


ETHEL.     I  didn't  think  you'd  remember  me- 


DENBY.  Remember  you?  Why,  it  was  only  the 
day  before  yesterday  we  were  in  Paris. 

ETHEL.  (Crosses  to  couch)  What  are  you  doing 
in  America? 

DENBY.  (Crosses  to  center)  Oh,  I  thought  I 
needed  a  run  over  to  see  if  New  York  was  finished 
yet. 

(Piano   off-stage  starts  playing:  "I   loved   you   a 
thousand  years  ago.") 

ETHEL.    Are  you  still  doing — nothing? 


UNDER  COVER  47 

DENBY.     Still — nothing. 

ETHEL.  And  I  did  have  hopes  of  you.  (Sits  on 
right  end  of  couch} 

DENBY.     (Meaningly)     And  I  of  you. 

ETHEL.  (Changing  the  subject)  I'm  afraid  I 
don't  admire  idlers.  Why  don't  you  do  something? 

DENBY.  It's  so  difficult  to  get  a  thrill  out  of 
business. 

ETHEL.    And  you  must  have  thrills? 

DENBY.  (Sits  on  left  arm  of  couch)  Yes,  it's 
such  a  dull  old  world  nowadays. 

ETHEL.     Why  don't  you  take  to  crime? 

DENBY.  (Mockingly)  Ah,  the  stake's  too  high — 
a  thrill  against  prison.  , 

ETHEL.    Oh,  you  want  little  thrills? 

DENBY.  No,  a  big  one — life  or  death — but  not 
prison — (Piano  stops)  And  you?  You  are  still 
doing  nothing,  too? 

ETHEL.     Nothing. 

DENBY.     Still  Miss  Cartwright? 

ETHEL.    Only  Miss  Cartwright. 

DENBY.  (Rises,  leaning  towards  her)  Good! 
(Embarrassed  as  she  looks  quickly  at  him)  By 
George,  it  doesn't  seem  a  week  since  that  week  in 
Paris.  (Backs  away  to  center) 

ETHEL.    No,  it  doesn't. 

DENBY.  What  made  you  disappear  just  as  we 
were  having  such  bully  times? 

ETHEL.  I  had  to  come  back  to  America  sud 
denly;  I  had  only  an  hour  to  catch  that  boat — 
didn't  you  get  my  note? 

DENBY.  Of  course  I  didn't.  I  thought  you'd 
dropped  me.  I  tell  you  I  hit  with  an  awful  crash. 

ETHEL.  (Encouragingly)  No,  I  hadn't  dropped 
you.  (DENBY  crosses  to  left  end  of  couch)  In 
fact  I  thought  it  was  just  the  other  way. 

DENBY.  I  should  say  not !  I  did  try  to  see  you 
when  I  was  over  here  six  months  ago,  but  you  were 


48  UNDER  COVER 

at  Palm  Beach.  (Whimsically)  I  can't  tell  you 
how  often  I've  sent  you  telepathic  messages — ever 
get  any  of  'em  ? 

ETHEL.  Some  of  them,  I  think.  And  now  we 
meet  on  Long  Island.  It's  a  far  cry  to  Paris. 

DENBY.  Oh,  it's  people  who  makes  places. 
(Crosses  to  end  of  couch)  The  places  themselves 
don't  matter — you  and  I  are  here. 

ETHEL.     (Sighing)     Still  Paris  is  Paris. 

DENBY.  (Sighing)  Rather !  Do  you  remember 
that  afternoon  in  front  of  the  Cafe  de  la  Paix  ?  We 
had  Vin  Gris  and  watched  the  Frenchman  with  the 
funny  dog  and  the  boys  calling  La  Presse — (Piano 
starts  "  Un  Pen  D' Amour")  and  the  old  woman 
with  her  news-stand. 

ETHEL.  (Romantically)  And  there  was  a  hole 
in  the  tablecloth. 

DENBY.  (Smiling)  And  wasn't  it  a  dirty  table 
cloth.  (Romantic)  And  we  had  tea  in  the  Bois  at 
the  Cascade,  and  the  Hungarian  Band  played  "  Un 
Peu — (He  hears  piano  playing  "  Un  Peu  d' Amour" 
and  marks  the  coincidence)  "  Un  Peu  D'Amour  ". 

(They  listen  to  it  for  a  second,  she  hums.     When 
piano  finishes   chorus,  it  stops.) 

ETHEL.  (Romantically)  And  the  poor  skinny 
horse  in  our  fiacre  fell  down  and  we  walked  all  the 
way  home  out  of  pity. 

DENBY.     You  were  tender  hearted. 

ETHEL.  Do  you  remember  dinner  at  Vian's  that 
night — (Pauses)  Wasn't  the  soup  awful? 

DENBY.      (Smiling)     Ah,  but  the  string  beans ! 

ETHEL.    The  string  beans  were  an  event. 

DENBY.  (Around  to  back  of  couch,  leaning 
over)  And  afterwards  I  can  remember  a  moon  over 
the  Bois  as  we  sat  under  the  trees,  can  you? 

ETHEL.    (Softly)    Yes. 


UNDER  COVER  49 

(Piano  finishes  chorus  about  here.} 

DENBY.  (Leaning  over  her)  And  the  day  we 
went  through  the  whole  Louvre,  (Pauses)  in  an 
hour — and  the  loveliest  picture  I  saw  was  you 

(Pause.  He  sighs.  She  sighs.  Pause.  LAMBART 
interrupts  the  picture.  He  comes  from  L.  u. 
and  crosses.) 

LAMBART.  Pardon  me.  (DENBY  coughs f  embar 
rassed,  and  walks  away  down  left)  There  is  a 
gentleman  to  see  you,  Miss  Cartwright — (He  hands 
her  card  on  tray.  Crosses  to  c.) 

ETHEL.  (Rises,  crosses  to  LAMBART)  To  see 
me?  (She  takes  card,  looks  at  it,  startled)  Ask 
him  to  come  in.  (Turns  to  DENBY)  Will  you  for 
give  me? 

DENBY.  (Going  and  removing  auto  coat)  Surely 
— I  must  dress  anyhow. 

LAMBART.  Your  room  is  at  the  head  of  the  stairs, 
sir — (LAMBART  exits  L.) 

DENBY.     (Crosses  to  stairs)     Till  dinner? 

ETHEL.    Till  dinner. 

(DENBY  e.vits  upstairs.    ETHEL  shows  great  anxiety. 
In  a  moment  TAYLOR  enters.) 

TAYLOR.  (Crosses  D.  L.  then  to  ETHEL.  Enter 
door  L.  genially)  Good-evening,  Miss  Cartwright. 

ETHEL.  (Trembling)  My  sister?  Nothing's 
happened  ? 

TAYLOR.  Sure,  sure — I  haven't  bothered  her — 
the  little  lady's  all  right. 

ETHEL.     (Alarmed)     What  are  you  doing  here? 

TAYLOR.  I  thought  I'd  drop  in  in  reference  to 
our  little  chat  this  afternoon.  (He  crosses  R. 


50  UNDER  COVER 

ETHEL  up  to  stair  looking  off.  He  looks  about} 
Ah,  nice  place  here. 

ETHEL.    Yes,  but 

TAYLOR.  I  suppose  you  remember  our  conversa 
tion? 

ETHEL.  (Coming  down  center}  Of  course,  of 
course. 

TAYLOR.  You  said  when  I  needed  you,  you  would 
be  ready.  (During  this  scene  he  glances  around 
apprehensively)  Well,  I  need  you  now. 

ETHEL.    But  I  don't  understand. 

TAYLOR.  A  man  smuggled  a  two  hundred  thou 
sand  dollar  necklace  through  the  customs  to-day. 
For  various  reasons  we  allowed  him  to  slip  through 
thinking  he'd  fooled  us.  Now  that  he  believes  him 
self  safe,  it  ought  to  be  easy  to  get  that  necklace.  In 
fact,  we've  got  to  get  it — through  you. 

ETHEL.  Through  me?  But  I  wouldn't  know 
how  to  act — what  to  do. 

TAYLOR.  You're  too  modest,  Miss  Cartwright. 
I'm  quite  sure  you'll  be  very  successful. 

ETHEL.  But,  I'm  spending  Sunday  here — I 
couldn't  very  well  make  an  excuse  to  leave  now. 

TAYLOR.     You  don't  have  to  leave. 

ETHEL.    What? 

TAYLOR.  The  man  who  smuggled  that  necklace 
is  staying  here — his  name  is  Steven  Denby. 

ETHEL.  (Startled)  Steven  Denby?  You  must 
be  mad — he  isn't  a  smuggler. 

TAYLOR.    WThy  isn't  he  ? 

ETHEL.     I  know  him. 

TAYLOR.    You  do?    Where  did  you  meet  him? 

ETHEL.    In  Paris. 

TAYLOR.     How  long  have  you  known  him? 

ETHEL.    A  year. 

TAYLOR.  What  do  you  know  about  him  ?  What's 
his  business?  What  does  he  do? 

ETHEL.    Why — nothing. 


UNDER  COVER  51 

TAYLOR.  Nothing,  eh?  Well,  that  hardly  proves 
he's  not  a  smuggler. 

ETHEL.    I  m  sure  you're  wrong.    He's  my  friend. 

TAYLOR.  Your  friend!  (Change  to  insinuating 
tone)  Well,  that  ought  to  make  it  much  easier  for 
you  to  get  him. 

ETHEL.     I'm  certain  he's  absolutely  innocent. 

TAYLOR.     This  is  your  chance  to  prove  it. 

ETHEL.     But,  I  couldn't  spy  on  a  friend. 

TAYLOR.  If  he's  innocent  it  can't  make  any  dif 
ference,  he'd  never  know — if  he's  guilty — he  de 
serves  punishment — you've  no  right  to  try  and  pro 
tect  him.  You  would  merely  be  doing  your  duty  in 
helping  to  detect  a  criminal. 

ETHEL.  No,  no,  I  can't  do  it.  (Crosses  to  front 
of  table  at  left) 

TAYLOR.  You're  going  back  on  your  agreement, 
eh?  Suppose  I  go  back  on  mine? 

ETHEL.     You  wouldn't  do  that? 

TAYLOR.    It's  give  and  take  in  this  world. 

ETHEL.     But,  I  couldn't  be  so  contemptible. 

TAYLOR.  (Meaningly)  Now,  you'd  better  think 
it  over,  Miss  Cartwright;  I  would  if  I  were  you. 

ETHEL.  But,  suppose  you're  wrong — suppose  Mr. 
Denby  has  no  necklace — then 

TAYLOR.  Don't  you  worry  about  that.  Our  in 
formation  is  positive.  We  got  a  telegram  late  this 
afternoon  from  a  pal  of  his  who's  squealed  giving 
its  the  tip  about  the  necklace.  Well,  what  do  you 
say? 

ETHEL.     Oh,  I  can't — I  can't. 

TAYLOR.  (With  menace)  It's  Steven  Denby  or 
your  sister.  Which  are  you  going  to  choose? 

ETHEL.  (Pauses,  then  quietly  turns  away) 
Then  I  have  no  choice.  (To  TAYLOR)  What  do 
you  want  me  to  do? 

TAYLOR.     Good!     (Crosses  up  center,  looks  up- 


52  UNDER  COVER 

stairs,  then  crosses  to  ETHEL)  Denby  has  that 
necklace  concealed  in  a  tobacco-pouch,  a  brown 
leather  tobacco-pouch  which  he  always  carries  in  his 
pocket.  You  must  get  that  pouch. 

ETHEL.    Sssh !    How  can  I  ? 

TAYLOR.     I'll  leave  that  to  you. 

ETHEL.  (Pleadingly)  But,  why  ask  me — can't 
you  do  it? 

TAYLOR.  It  may  be  a  bluff,  some  clever  scheme 
to  throw  me  off  the  track.  I'm  not  going  to  risk 
a  mix-up  with  the  Harringtons,  or  tip  my  hand  until 
I'm  absolutely  sure.  Denby's  your  friend — you  can 
easily  find  out.  If  you  discover  the  necklace  is  in 
that  tobacco-pouch,  get  Denby  to  go  for  a  walk  in 
the  garden,  say  you  want  to  look  at  the  moon,  say 
anything,  but  get  him  in  the  garden  and  we'll  grab 
him  there. 

ETHEL.    But,  he  might  go  there  alone. 

TAYLOR.  If  he  comes  along  we  won't  touch  him. 
But  if  he  comes  with  you  we'll  know. 

ETHEL.  But,  if  I  can't  get  him  to  go  into  the 
garden  ? 

TAYLOR.  If  you're  sure  he  has  it  on  him — or  if 
you  make  certain  just  where  he  has  concealed  it — 
(Looks  around  thinking  for  a  second  or  two)  pull 
down  one  of  those  window  shades.  My  men  and  I 
can  see  those  windows  from  the  pagoda.  When  we 
get  that  signal  we'll  come  in  and  arrest  him — you 
understand  ? 

ETHEL.    Pull  down  the  curtain  shade. 

TAYLOR.  Yes,  but  be  careful.  Don't  bring  him 
out  in  the  garden,  and  don't  signal,  unless  you  are 
absolutely  positive. 

ETHEL.    Yes,  yes. 

TAYLOR.  And  under  no  circumstances  must  you 
mention  my  name. 

ETHEL.    But •• 

TAYLOR.    There's  no  "  but "  about  it.    It  is  most 


UNDER  COVER  53 

important  to  the  United  States  Government  and  to 
me  that  my  identity  be  in  no  way  disclosed. 

ETHEL.    But  it  may  be  necessary. 

TAYLOR.  It  cannot  be  necessary.  If  you  tell 
Denby  I'm  after  him — if  it  comes  to  a  show  down — 
I'll  not  only  swear  I  never  saw  you  before — but 
I'll  put  your  sister  in  prison. 

DENBY.  (Heard  off-stage)  Thanks  very  much, 
Lambert. 

TAYLOR.  (Hurriedly  going  up  to  French  window) 
Good-evening,  Miss  Cartwright.  Don't  forget  to 
get  Denby  to-night. 

(She  collapses  R.  of  table  L.  He  exits.  ETHEL  is 
left  wretched  and  miserable.  Dinner  chimes 
ring  off-stage.  DENBY  comes  downstairs) 

DENBY.  (Crosses  down  center)  Ah,  dinner. 
(ETHEL  rises)  Come,  I  wish  it  were  Paris,  with 
the  hole  in  the  tablecloth,  and  the  eventful  string 
beans,  and  the  gay  old  moon,  but,  after  all,  what  do 
they  matter?  It's  a  great  world — you're  here,  and 
I'm  hungry.  Are  you  hungry? 

(They  are  walking  off  R.  as  the  curtain  falls.) 
Curtain 

(Curtain  remains  down  thirty  seconds  to  indicate  a 
lapse  of  two  hours  until  after  dinner.) 

SCENE  II 

SCENE:  Curtain  rises  on  a  dark  stage.  LAMBERT 
enters  from  R.  turns  up  lights  and  exits  L.  u. 
During  this,  NORA,  ALICE  and  ETHEL  are  heard 
talking.  At  LAMBERT'S  exit  they  enter  and 
ETHEL  enters  last,  crosses  around  table  and 
sits  in  front. 


54  UNDER  COVER 

NORA.  (Crosses  dozvn  center.  To  couch)  What 
I  can't  see  is  why  we  didn't  stay  and  have  our 
cigarettes  with  the  men. 

ALICE.  (Crosses  to  right  of  table)  Oh,  I  always 
leave  the  men  together.  That's  the  way  I  always 
get  all  the  newest  naughty  stories.  Michael  tells 
'em  to  me  later. 

NORA.    Alice ! 

ALICE.  (At  R.  of  table  c.)  Oh,  I  like  'em  when 
they're  really  funny;  so  does  everybody  else.  Be 
sides  nowadays,  it's  improper  to  be  proper.  Cigar 
ette,  Ethel? 

ETHEL.  (Who  has  crossed  to  mantel  nozv  crosses 
to  table  and  sits  in  front  of  it)  You  know  I  don't 
smoke. 

NORA.  That's  so  old  fashioned.  I'd  rather  die 
than  be  that — (She  coughs  slightly)  I  do  wish, 
though,  I  enjoyed  smoking. 

ALICE.  (Sits  stool  R.  of  table)  Nora,  what  do 
you  think  of  our  new  friend,  Mr.  Denby? 

NORA.  I  like  him  in  spite  of  the  fact  that  he 
didn't  notice  me.  He  couldn't  take  his  eyes  off 
Ethel. 

ALICE.  I  saw  that  myself.  You  know,  Ethel,  I 
meant  him  to  take  you  into  dinner,  but  Nora  insisted 
that  she  sit  next  to  him.  She's  such  a  man  hunter. 

NORA.  You  bet  I  am — that's  the  only  way  you 
can  get  'em.  (Crosses  down  R.) 

ALICE.  Didn't  you  and  Mr.  Denby  have  a  tiny, 
tiny  row?  You  hardly  spoke  to  him  all  through 
dinner  ? 

ETHEL.     Didn't  I?    I've  a  bit  of  a  headache. 

NORA.     (Crosses  to  R.  center)    I'll  bet  they  had  a 
lover's  quarrel  before  dinner. 
ALICE.    (Smilingly  interested)    A  lover's  quarrel  ? 
_NORA.     Certainly,  I'm  sure  Ethel's  in  love  with 
him. 

ETHEL.      (Embarrassed)     How  perfectly  ridic- 


UNDER  COVER  55 

ulous.  Nora,  don't  be  silly.  I  met  him  for  a  week 
in  Paris.  That's  all.  I  did  find  him  interesting. 
He  had  big  talk  as  well  as  small,  but  as  for  love, 
please  don't  be  idiotic.  (Crosses  to  fender  seat  and 
stands) 

ALICE.    Methinks  the  lady  doth  protest  too  much. 

NORA.  (Crosses  to  ALICE)  Well,  I  don't  blame 
you.  If  he'd  give  me  a  chance  I'd  fall  in  for  him  in 
a  minute,  but  attractive  men  never  bother  about 
me.  The  best  I  can  draw  is  Monty,  I'm  beginning 
to  dislike  the  whole  sex.  (Steps  to  R.  ETHEL  sits 
on  lozver  end  of  club  fender,  facing  front) 

ALICE.  Theoretically  you  are  quite  right,  my 
dear.  Men  are  awful  things — God  bless  'em — but 
practically — well — some  day — you'll  explode  like  a 
bottle  of  champagne  and  bubble  out  all  over  some 
man. 

NORA.  (Steps  to  ALICE)  I  wish  I  had  another  of 
Michael's  purple  drinks. 

ALICE.  Do  tell  him  that.  The  surest  way  to 
Michael's  heart  is  through  his  buffet.  He's  taken  to 
mixing  cocktails  now  in  a  graduated  chemist's  glass. 
He  should  have  been  a  bartender. 

NORA.    Is  he  drinking  as  much  as  ever? 

ALICE.  When  I'm  at  home?  I  should  say  not. 
Nothing  after  one  A.  M.  If  he  goes  to  bed,  then 
he's  all  right.  If  he  doesn't  he  sits  up  till  five  going 
the  pace  that  fills.  (Laughs)  I  wouldn't  mind  if 
it  made  him  amusing — but  it  doesn't — it  merely 
makes  him  sleepy.  For  Heaven's  sake,  Nora,  do 
sit  down. 

NORA.  (Crosses  to  front  of  table)  I  can't.  I 
always  stand  up  for  twenty  minutes  after  each  meal. 
It  keeps  you  thin. 

ALICE.  (Crosses  down-stage  and  to  R.  c. 
Eagerly)  Does  it?  (Rising)  Does  it,  really? 
(Comfortably)  Still  I  lost  nine  pounds  abroad. 

NORA.    Goodness !    How  ? 


56  UNDER  COVER 

ALICE.     Buttermilk. 

NORA.  I  walked  four  miles  this  morning  in  a 
rubber  suit  and  three  sweaters  and  gained  half  a 
pound.  (Crosses  to  L.  c.  and  up  around  table  to 
back} 

ALICE.  I  do  wish  hips  would  come  in  again. 
(ALICE  to  right  end  of  couch.  MICHAEL  crosses 
to  right,  up.  MONTY  to  back  of  couch  and  DENBY 
to_left  of  center,  to  NORA  at  back  of  table) 

(Heard  speaking  off.    Enter  R.) 
DENBY.    It's  a  delicious  liqueur. 

(ALICE  has  crossed  over  to  couch  and  NORA  behind 
table  meets  DENBY.) 

MICHAEL.  I  used  to  think  so  too  before  my  wife 
stopped  my  drinking. 

(DENBY  comes  to  ETHEL.) 

MONTY.  (Back  of  couch  R.)  Fine  stuff.  I 
could  still  feel  it  warming  up  all  the  little  nooks  and 
crannies. 

DENBY.     Purple,  but  pleasing. 

ALICE.  Michael — did  they  tell  you  any  stories — 
purple  stories? 

DENBY.  (Standing  behind  table  c.)  We  don*t 
know  any  new  stories,  we've  been  in  England. 

(All  laugh.) 

ALICE.  (To  couch  and  sits)  Do  sit  down,  all  of 
you.  We've  been  standing  up  to  get  thin. 

MICHAEL.  Come  on.  If  they're  going  to  discuss 
getting  thin — let's  get  out. 

MONTY.    Woman's  favorite  topic. 

NORA.  (Coming  round  front  of  table  to  L.  of 
table.  HARRINGTON  comes  to  right,  and  DENBY  to 


UNDER  COVER  57 

L.  belozv  table  and  between  ETHEL  and  chair  L.  of 
table}  But  you  mustn't  sit  down  yet,  it  isn't  twenty 
minutes. 

ALICE.     Well  I  think  it's  twenty  minutes,  and  if 
it  isn't  I  don't  give  a  damn. 


(DENBY  crosses  to  upper  end  of  fender.} 

MICHAEL.  Women  are  so  self-denying !  (Crosses 
and  sits  R.  of  table) 

ALICE.  By  the  way,  Nora,  there  was  a  girl  on 
the  boat  who  lost  twelve  pounds. 

MICHAEL.  Twelve  pounds !  Why,  that's  sixty 
dollars.  How  women  gamble. 

ALICE.  Pounds  of  flesh.  She  was  on  a  diet. 
She  didn't  eat  for  four  days. 

(DENBY  crosses  to  chair  left  of  table.) 

NORA.  Oh,  that's  a  fine  idea.  I  must  try  it 
sometime — when  I'm  not  hungry.  (NoRA  sits 
front  of  table  c.) 

ETHEL.  (Suddenly  coming  into  the  conversation) 
Speaking  of  the  boat,  Alice,  what  did  you  smuggle 
in? 

(During  this  talk  about  smuggling,  MONTY  looks 
anxiously  at  DENBY  and  foot  by  foot,  watch 
ing  him,  moves  till  he  is  behind  table  c.) 

ALICE.  Not  a  thing  this  time.  I  declared  every 
solitary  stitch — 

MICHAEL.  I'd  like  to  believe  you — but  knowing 
you  as  I  do 

ALICE.     I  paid  seven  hundred  dollars  duty 

NORA.     Disgusting. 

MICHAEL.  What  mental  revolution  was  re 
sponsible  for  your  deciding  that  smugging  is  wrong. 


58  UNDER  COVER 

ALICE.  I  don't  think  it's  wrong — you  men  seem 
to — but  I'd  swindle  the  government  any  day. 

NORA.    Then,  for  Heaven  sakes  why 

ALICE.     Behold  my  reformer,  Mr.  Denby. 

ETHEL.  (Suspicious  and  nervous.  Speaks 
quickly)  Mr.  Denby? 

NORA.  (Turns  to  DENBY)  What  did  he  have 
to  do  with  it? 

(ETHEL  has  little  part  in  the  follozving  conversa 
tion,  but  is  most  keen,  alert  and  ^vatchfld.) 

ALICE.    He  frightened  me. 

MICHAEL.  I  want  to  have  a  good  look  at  the  man 
who  can  do  that. 

DENBY.  I'm  afraid  Mrs.  Harrington  is  exag 
gerating.  I  merely  explained  that  things  lately  had 
been  in  rather  a  muddle  at  the  customs. 

ALICE.  They  didn't  give  us  the  least  bother  at 
the  dock. 

DENBY.  That  sometimes  means  the  greatest  pos 
sible  trouble  afterwards. 

NORA.     How  can  it? 

DENBY.  Well,  according  to  some  articles  in 
McClures  a  few  months  ago — by  Burns — {Turn 
ing  to  EDITH) 

NORA.  Oh,  was  it  in  dialect?  I  love  Scotch 
stories. 

DENBY.  (To  NORA)  I'm  afraid  you're  think 
ing  of  the  wrong  Burns,  this  wasn't  Bobby,  the 
poet.  It  was  Bill,  the  detective. 

ETHEL.    What  did  he  have  to  say  about  it? 

DENBY.  It  seems  that  very  often  a  dishonest 
official  will  let  a  prominent  woman,  like  Mrs.  Har 
rington  slip  through  the  lines  without  the  least 
difficulty — even  if  she  is  smuggling — only  afterward 
to  come  to  her  home,  threaten  exposure  and  a  heavy 
fine.  Usually  the  woman  or  her  husband.  (Look 


UNDER  COVER  59 

between  HARRINGTON  and  ALICE)  will  pay  largely 
to  hush  things  up.  That's  why  I  advised  Mrs. 
Harrington  to  declare  everything. 

ALICE.  Even  so,  I'd  never  had  listened  to  it  if 
you  hadn't  scared  me  half  to  death  with  that  talk 
about  R.  J. 

ETHEL.    What's  R.  J. 

MICHAEL.    Sounds  like  a  collar,  or  a  corset. 

ALICE.  He's  one  of  those  frightfully  clever  de 
tectives  who  get  you  "  if  you  don't  watch  out." 

NORA.  Oh,  I'll  bet  he's  fun.  I  adore  detectives. 
Do  tell  us  about  him,  Mr.  Denby. 

DENBY.  I  know  very  little.  Just  that  he's  sup 
posed  to  be  one  of  those  impossible  secret  service 
agents,  traveling  incognito,  all  over  the  place.  He's 
known  only  by  his  initials — R.  J.  The  stormy 
petrel — some  people  call  him — always  in  the  wake  of 
trouble.  Where  there  is  intrigue,  diplomatic  tangles 
— if  the  Japs  steal  a  fortification  plan  or  send  a 
cross-country  aeroplane  to  drop  a  bomb  on  the 
Singer  Building,  R.  J's  supposed  to  be  there — and 
catch  the  bomb. 

NORA.     What  an  awfully  unpleasant  position? 

DENBY.  You  see  I  thought  I  ought  to  tell  Mrs. 
Harrington  about  him,  because  we  heard  in  Paris 
that  he  was  busy  over  here  now — with  the  customs. 

MICHAEL.  But,  what  I  can't  see  is — suppose 
Alice  had  smuggled  and  she  came  through  without 
any  fuss,  as  she  did,  how  on  earth,  without  a 
search,  could  they  know  she  had  anything  dutiable, 
and  if  they  didn't  know,  how  could  they  blackmail 
her? 

DENBY.  Oh,  that's  the  simplest  part  of  it.  The 
clerk  in  Paris  who  sells  you  a  set  of  sables  or  some 
rare  bit  of  lace,  is  most  of  the  time  a  government 
spy,  unofficially  and  directly  after  he  has  assured 
you :  "  It  is  simple  to  smuggle,  one  can  hide  things 


60  UNDER  COVER 

so  easily,"  he  is  cabling  the  customs  here  of  your 
purchase. 

MICHAEL.  They  do  that?  I  never  did  trust 
foreigners. 

ETHEL.  (Rises,  crosses  to  DENBY,  leaning  for 
ward  coquettishly  to  DENBY)  Tell  me  truly,  Mr. 
Denby,  didn't  you  smuggle  something — just  one 
tiny  little  scarf  pin? 

( MONTY  to  center,  then  slowly  to  back  of  table.} 

DENBY.  (Turning  to  her}  Truly,  nothing.  Not 
even  one  tiny  little  scarf.  What  makes  you  think  I 
did? 

ETHEL.  It  seemed  to  me  that  your  protection 
of  Mrs.  Harrington  was  so  very  insistent  you  must 
have  been  afraid  that  she — less  clever  than  you — 
would  be  caught. 

DENBY.     But  how  could  that  affect  me? 

ETHEL.  If  she  were  found  out,  that  might  direct 
suspicion  to  you. 

MICHAEL.  That  sounds  plausible — come  on, 
Denby,  'fess  up,  what  did  you  bring? 

DENBY.  Only  myself  and  Monty — but  you  see 
he  isn't  dutiable. 

( MONTY  goes  up  to  window,  and  in  a  moment  strolls 
back  to  table.} 

ETHEL.  Well,  I'm  not  convinced,  Mr.  Denby, 
that  it  wasn't  one  thought  for  Alice  and  two  for 
yourself. 

MICHAEL.     (Rising}     Come  on,  Denby — tell  us. 

NORA.  (Rising  and  coming  to  DENBY)  Oh, 
do — it'd  be  so  nice  if  your  picture  was  in  the  Rogues' 
Gallery. 

ALICE.  (Rises,  crosses  to  c.)  Yes,  do  tell  us, 
Mr.  Denby. 


t 
UNDER  COVER  61 

MICHAEL.  We'll  keep  mum,  we  won't  turn  you 
over  to  the  Police. 

(MONTY  to  table.     Crosses  to  ALICE  at  c.) 

ETHEL.     You're  safe  with  us. 

DENBY.  Oh,  I'm  sure  of  that — so  sure  that  if  I 
had  anything  to  tell,  I'd  tell  it. 

NORA.  That's  always  the  way — everytime  I  meet 
a  man  who  seems  exciting,  he  turns  out  to  be  just 
a  nice  man — I  hate  nice  men.  (Goes  and  stands 
by  MONTY  beliind  table) 

ETHEL.  Yes,  you  are  a  disappointment. 
Couldn't  you  think  of  any  new  way  to  smuggle? 

DENBY.  Oh,  it  wasn't  lack  of  ingenuity — just 
respect  for  the  law. 

MICHAEL.  I  didn't  know  we  had  that  in  America 
any  more. 

ETHEL.  (Takes  cigarette-box  from  mantel, 
crossing  left  to  MONTY,  then  to  MICHAEL)  Cigar 
ettes,  gentlemen  ? 

MONTY.  (Taking  cigarette)  Thank  you  very 
much,  Miss  Cartwright. 

MICHAEL.  No,  I  want  something  I  can  get  my 
teeth  in.  (Turns  to  ALICE  at  c.) 

ETHEL.  (Crossing  back  to  L.  of  DENBY)  You, 
Mr.  Denby? 

DENBY.  Thanks  no,  I'll  roll  my  own — if  you 
don't  mind.  (He  has  taken  pouch  from  pocket  and 
puts  pouch  on  table.  ETHEL  starts  as  she  sees  the 
pouch,  and  shuts  the  cigarette  box  with  a  click. 
Crosses  to  mantel  and  puts  cigarette  box  on  mantel) 

NORA.  Oh,  can't  you  do  it  with  one  hand — like 
the  cowboys  do  in  books? 

DENBY.  (Smiling)  I'm  sorry  to  disappoint  you 
again,  but  I  find  two  hands  barely  enough. 

ETHEL.  (Crosses  to  DENBY)  Sometime  you 
must  roll  me  one,  will  you? 


62  UNDER  COVER 

DENBY.  With  pleasure.  (He  finishes  the  rolling 
and  lights  the  cigarette) 

ALICE.     But,  you  don't  smoke. 

ETHEL.    Ah,  but  I've  been  tempted. 

NORA.  The  only  thing  that  makes  my  life  worth 
living  is  yielding  to  temptation. 

MICHAEL.    Well,  I'm  thirsty — who'll  split  a  pint? 

ALICE.     That's  your  last  drink  to-night. 

MICHAEL.  I'm  not  likely  to  forget  it.  You  know 
my  wife  thinks  I'm  a  restaurant.  She  closes  me 
up  at  one  sharp. 

ALICE.     Shall  we  have  some  bridge,  Ethel? 

ETHEL.    Thanks,  no,  I've  given  it  up. 

NORA.     (Surprised)     Why,  you  used  to  love  it. 

ETHEL.  I've  come  to  think  that  all  gambling  is 
horrible. 

MICHAEL.  Me  too,  unless  stocks  go  up  or 
the  Democratic  party  goes  down  I'll  be  broke  soon. 
(Crosses  to  back  of  couch)  How  about  a  game  of 
pool?  (Crosses  to  door  R.) 

NORA.  (Enthusiastically)  I've  never  played, 
but  I'd  like  to  learn. 

MONTY.  That'll  make  it  a  nice  game.  (Steps 
back  as  ALICE  crosses  to  NORA  at  c.) 

ALICE.  (Up  to  French  window)  I  suppose 
there's  nothing  else  to  do  but  turkey  trot.  (Down 
to  NORA)  Come,  Nora. 

MICHAEL.  Well,  I'll  play  pool  or  bridge  or  poker 
— I'll  sit  or  talk  and  sing — but  I'll  be  hanged  if  I 
turkey  trot. 

ALICE.  Oh,  if  you  were  only  light  footed  instead 
of  light  headed. 

(ALICE  and  MICHAEL  exit  R.) 

NORA.  Coming,  Monty?  (She  follows  MICHAEL 
and  ALICE  off  R.) 

MONTY.  Sure,  but  I'd  much  rather  tango.  (He 
starts  to  go  off  R.) 


UNDER  COVER  63 

DENBY.  (Crosses  to  back  of  table  at  L.  c.  De 
taining  him)  Oh,  Monty. 

ETHEL.     Aren't  you  playing,  Mr.  Denby? 

DENBY.  In  just  a  moment.  There's  something 
I  want  to  say  to  you,  Monty. 

ETHEL.  (Crossing  up  between  the  men  toward 
door  R.  to  u.  R.  c.)  I  know,  man's  god — business. 

MONTY.    We  have  rather  a  big  deal  on. 

DENBY.  Yes,  a  two  hundred  thousand  dollar 
proposition — so  we're  a  bit  anxious. 

ETHEL.  (A  look  on  the  mention  of  the  amount) 
I  should  think  anyone  would  be — in  your  place — 
but  don't  be  too  long,  I  shall  want  that  cigarette 
presently.  (She  goes  out  door  R.  DENBY  looking 
after  her) 

DENBY.     Bully,  bully  girl. 

MONTY.  (Anxiously  at  left  of  couch  R.)  Any 
thing  wrong,  Steve  ? 

DENBY.  (Coming  out  of  his  trance  and  down  to 
MONTY  at  left  end  of  couch)  I  don't  understand 
why  they  haven't  done  anything.  I'm  certain  we 
were  followed  from  the  dock. 

MONTY.  Why,  you're  crazy.  If  they'd  had  the 
least  idea  about  the  necklace,  they'd  have  pinched 
you  at  the  pier. 

DENBY.  That's  just  what  makes  me  suspicious — 
they  let  us  slide  through  too  easily. 

MONTY.    They  were  mighty  casual. 

DENBY.  And  Cartiers  must  have  tipped  off  some 
of  the  customs  crowd  that  I  got  the  necklace  there. 
It  all  looks  too  fishy.  They're  up  to  some  dodge. 

MONTY.  You're  too  fidgety.  (Crosses  down 
rig  Jit) 

DENBY.  You  don't  know  the  game  as  I  do. 
(He  goes  around  table  to  left  of  light  switch  up  on 
center  zvall  by  window)  Get  over  by  that  window. 
( MONTY  starts  hurriedly  for  the  window)  Easy, 
easy.  (DENBY  has  got  to  light  switch  and  quickly 


64  UNDER  COVER 

turns  it — the  lights  go  out — leaving  stage  in  dark 
ness  except  for  the  moonlight  coming  through  the 
French  window) 

MONTY.     (Excitedly}     What  the  dev 

DENBY.     Is  any  one  there  on  the  lawn? 

MONTY.  No — (Quick  and  mysterious  looks  to 
L.)  By  Jove,  yes,  there  is.  There's  a  man  over  by 
the  big  oak. 

DENBY.    What's  he  doing? 

MONTY.     Just  standing,  looking  over  this  way. 

DENBY.  He's  watching  the  house.  Anybody 
with  him? 

MONTY.     No. 

DENBY.  Come  away,  Monty.  (MONTY  crosses 
back  of  table  and  do^vn  left.  He  switches  light  on) 
Now,  do  you  believe  they've  followed  us? 

(DENBY  comes  down  center.) 

MONTY.  The  chills  are  running  up  and  down  my 
spine.  Gee,  I  hope  we  don't  have  a  fight. 

DENBY.  Don't  be  nervous,  old  man,  they  won't 
touch  you.  They're  after  me. 

MONTY.  Huh — those  fellows  are  likely  to  shoot 
first  and  then  ask  which  is  you? 

DENBY.  (Quoting  MONTY'S  previous  speech) 
Nonsense,  you're  too  fidgety. 

MONTY.    Why  the  deuce  don't  they  come  in? 

DENBY.    I  think  they'll  stay  out  to  keep  us  in. 

MONTY.    I  hope  they  do. 

DENBY.  They  must  have  someone  here  on  the 
inside — working  under  cover  to  try  and  get  the 
necklace.  (Crosses  up  to  French  windows,  look  out 
to  left  using  door  as  screen} 

MONTY.    Who  can  it  be?     (Crosses  to  table) 

DENBY.  (Up  at  window)  That's  what  we've 
got  to  find  out,  and  then,  Monty,  then  we'll  have 
some  sport. 


UNDER  COVER  65 

MONTY.  (Disgustedly)  Then  we'll  have  some 
shooting.  Say,  where's  the  necklace  now  ? 

DENBY.  ( Up  at  French  window  looking  out  to  L. 
MONTY  back  to  audience)  Still  in  my  tobacco- 
pouch.  (ETHEL  opens  R.  door  very  quietly  and 
stands  listening.  Turns  away  to  L.)  I  know  they 
mean  business.  This  is  going  to  be  a  fight,  Monty, 
a  fight  to  the  finish. 

( MONTY  turns  and  seeing  ETHEL  interrupts  DENBY, 
sharply.) 

MONTY.     Will  you  have  a  cigarette,  Dick? 

(DENBY  wheels  about  quickly.  Picture.  ETHEL 
seeing  she  is  discovered,  comes  down  smiling 
to  R.  of  table.) 

ETHEL.  (As  she  crosses  down  center)  Still 
talking  business?  I  left  my  fan  here  somewhere. 

DENBY.  Girls  are  always  doing  that,  aren't  they? 
(As  he  crosses  down  left)  We'll  help  you  find  it, 
eh,  Monty. 

MONTY.  (Nervously  crosses  to  sofa)  Sure, 
Steve,  sure. 

ETHEL.  Steve?  (Turns  to  MONTY)  But  as  I 
came  in  I  thought  I  heard  you  call  him  Dick. 

MONTY.     (Embarrassed)     Who?    Me?    Why? 

DENBY.  (Promptly  crossing  to  ETHEL  at  table) 
Oh,  that  was  a  signal  in  our  private  code. 

ETHEL.    It  sounds  mysterious. 

DENBY.  It's  only  commonplace.  My  favorite 
parlor  trick  is  making  breaks,  and  good  old  Monty 
has  invented  a  signal  to  warn  me  when  I'm  on 
dangerous  ground.  "  Will  you  have  a  cigarette, 
Dick,"  he  says. 

(ETHEL  turns  to  MONTY.) 
MONTY.     (Relieved)     Yes,  that's  it. 


66  UNDER  COVER 

ETHEL.     (To  MONTY)     But  why,  Dick? 

DENBY.  (ETHEL  turns  to  STEVE)  Oh,  that's  the 
signal — if  he  said  Steve  I  mightn't  notice  it — so  he 
always  says  Dick,  don't  you,  Monty? 

MONTY.     Always,  Steve. 

ETHEL.  (Gaily)  Were  you  about  to  make  a 
break  when  I  came  in? 

DENBY.    I'm  afraid  I  was. 

ETHEL.  (Crosses  to  DENBY)  What  was  it? 
Do  tell  me. 

DENBY.  Ah,  if  I  told  you,  then  it  would  indeed 
be  a  break. 

ETHEL.  Discreet  man !  You  must  have  been 
talking  about  me. 

DENBY.  You  are  imaginative — (As  he  takes  stage 
left,  looking  around  on  the  ceiling}  even  about  your 
fan — there  doesn't  seem  to  be  a  sign  of  it  here. 

ETHEL.  (Going  towards  stairs)  I  dare  say  it 
must  be  in  my  room.  May  I  have  that  promised 
cigarette  now  to  cheer  me  on  my  way?  (Crosses 
to  DENBY) 

DENBY.  Surely.  (He  takes  pouch  from  pocket 
and  rolls  cigarette) 

MONTY.  (Crossing  to  center)  Can't  I  get  your 
fan  for  you? 

ETHEL.  No ;  you'd  have  to  rummage,  and  that's 
a  privilege  I  reserve  only  for  myself. 

( MONTY  crosses  to  D.  R.  c.  slowly.) 

ETHEL.  (Taking  cigarette,  licks  it  and  puts  it  in 
mouth)  You  are  expert.  Thanks. 

DENBY.  Thanks.  (He  lights  her  cigarette.  She 
takes  one  puff  amateurishly,  gives  slight  cough) 

ETHEL.  What  a  delicious  cigarette!  (DENBY 
turns  away  up-stage  to  toss  away  match  at  fireplace 
and  smiles,  with  pouch  in  left  hand.  She  holds  out 
hand  and  touches  pouch  showing  she  ivishes  to  get 
hold  of  it)  What  sort  of  tobacco  is  it? 


UNDER  COVER  67 

DENBY.  (Turning  to  ETHEL  and  not  giving  her 
the  pouch  and  returning  it  to  his  pocket}  Without 
fire. 

ETHEL.     Without  fire? 

DENBY.  Yes.  You  see  no  smoke  without  fire. 
(He  puts  pouch  in  his  pocket) 

ETHEL.    You  don't  believe  in  that  old  phrase? 

DENBY.    Not  a  bit — Do  you? 

ETHEL.  (As  she  goes  backing  up  the  stage)  Do 
make  another  break  sometime.  (On  first  platform 
and  leaning  over  balustrade)  Won't  you,  Dick? 

DENBY.  (Crossing  to  table  and  center  and  right 
of  stairs)  I  probably  will — unless  Monty  or  you 
warn  me? 

ETHEL.  (On  first  landing  of  stairs,  leaning  over 
balustrade)  I'd  never  do  that — I'd  rather  like  to 
see  you  put  your  foot  in  it.  You  seem  so  very  sure 
of  yourself — Steve!  (She  laughs  and  exits  up 
stairs) 

MONTY.  (Crosses  to  center)  Say,  who  is  that 
girl? 

DENBY.     (Looking  after  her)     Ethel  Cartwright. 

MONTY.  Yes,  yes,  but  what  do  you  know  about 
her? 

DENBY.  (He  crosses  toward  MONTY  down 
stage)  Nothing,  except  that  she's  a  corker. 

MONTY.    You  met  her  in  Paris,  didn't  you? 

DENBY.    Yes. 

MONTY.     What  was  she  doing  there? 

DENBY.  (Turning  and  coming  to  him)  What 
on  earth  are  you  driving  at? 

MONTY.  She  was  behind  that  door  trying  to 
listen  to  us. 

DENBY.     (Quickly)     You  thought  that,  too? 

MONTY.  (Triumphantly)  Ah!  Then  you  do 
suspect  her  of  being  the  one  they've  got  on  the 
inside  ? 


68  UNDER  COVER 

DENEY.  It  can't  be  possible — that  girl — (Looks 
upstairs)  No,  I  won't  believe  it. 

MONTY.  (Suddenly)  Say,  Steve,  you're  not 
sweet  on  her? 

DENBY.  (Overdoing  his  denial.  Looks  at 
MONTY)  No,  (Looks  upstairs)  no,  no,  no,  I 
know  you're  wrong — it's  impossible. 

MONTY.    But  you  have  the  same  idea  I  have. 

DENBY.  (Slowly  to  front)  I  know,  I  know. 
(Reluctantly)  She  did  seem  mighty  interested  in  my 
tobacco-pouch. 

MONTY.  But  how  could  she  know  the  necklace 
was  there? 

DENBY.  (Faces  front)  They've  had  a  tip,  and 
if  she's  one  of  'em  she'd  know.  Wouldn't  it  be  just 
my  rotten  luck  to  have  that  girl  of  all  girls  I've 
ever  known,  mixed  up  in  this?  (Looks  upstairs) 

MONTY.     I  believe  you're  in  love  with  her. 

DENBY.  (Looks  tozvard  stairs,  speaks  slowly) 
I  know  I  am. 

MONTY.  (Coming  back  to  DENBY)  Oughtn't 
we  to  find  out  if  she  is  the  one  who's  after  you  or 
not? 

DENBY.  No,  we  oughtn't.  I'm  sure  now.  I 
won't  insult  her  by  trying  to  trap  her. 

MONTY.  Flub  dub.  I  suspect  her.  Isn't  it  only 
fair  to  her  to  clear  her  of  that  suspicion?  If  she's 
all  right,  I'll  be  darned  glad  of  it,  if  she  isn't, 
wouldn't  you  rather  know? 

DENBY.    But  old  man,  I  don't  want  to  fight  her. 

MONTY.  I  understand,  but  you  can't  quit  now — 
you've  got  to  get  through. 

DENBY.    I  suppose  you're  right. 

MONTY.     Of  course  I  am. 

DENBY.  Understand,  Monty,  I'm  only  doing  this 
to  prove  how  absolutely  wrong  you  are. 

MONTY.    Sure,  Steve,  sure. 

DENBY.     Go  in  there  and  keep  the  rest  of  the 


UNDER  COVER  69 

people  from  coming  back.  (Crossing  left  in  front 
of  table  and  facing  up-stage) 

MONTY.    How  can  I  do  that? 

DENBY.  Oh,  recite,  make  faces,  do  imitations, 
piny  Going  to  Jerusalem. 

MONTY.  (Goes  to  door  R.,  turns)  And  say,  old 
man,  whatever  turns  up  don't  take  it  too  hard. 
Just  remember  what  happened  to  Sampson  and 
Antony  and  Adam.  (MONTY  exits  R.  As  soon  as 
he  has  done  so,  DENBY  looks  around  drops  pouch 
in  front  of  chair,  looks  upstairs;  sees  door  L., 
crosses  to  door,  looks  off  L.  leaves  door  open,  stands 
in  doorway;  determines  to  change  position  of  pouch. 
Crosses  to  pouch,  looks  around  room,  picks  up 
pouch,  places  it  on  table ;  pushes  plant  away,  moves 
chair  a  little,  looks  around,  crosses  to  door  L.  e\'its, 
draining  door  to  until  almost  closed — but  audience 
can  see  him.  After  a  second's  pause,  ETHEL  speaks, 
coming  down-stairs) 

ETHEL.  Oh,  Mr.  Denby,  my  fan  was  in  my  room. 
(She  pauses  at  foot  of  the  long  flight  of  stairs,  as 
she  sees  he  isn't  there.  She  looks  around  the  room 
and  comes  down  to  above  table  and  sees  the  pouch. 
She  starts  for  it,  pauses,  suspecting  a  trap.  Steps 
back,  goes  over  to  French  window,  looks  out,  comes 
back,  goes  for  pouch  and  sees  that  door  L.  is  slightly 
ajar,  then  pauses.  She  is  now  absolutely  aware  of 
his  trap.  She  moves  nervously  toward  servant's 
bell,  down  left,  passing  back  of  the  table  at  left 
center.  Then,  as  she  gets  within  range  of  the  door, 
changes  to  a  determined  walk,  goes  to  bell  over 
mantel  and  rings  for  servant  zvithout  ever  looking 
at  the  door.  She  stands  facing  the  audience.  LAM 
BERT  enters  R.  to  c.)  Lambert,  please  find  Air. 
Denby,  and  say  that  I  am  here. 

LAMBAKT.     Yes,  miss.     (Starts  right) 

LAMBERT.     Yes,  miss.     (Starts  right) 

ETHEL.  (Coming  toward  table)  Oh,  here's  Mr. 
Denby's  tobacco-pouch — he  must  have  forgotten  it 


70  UNDER  COVER 

—  ( LAMBERT  comes  and  picks  up  pouch  with  his 
left  hand)     No,  I'll  give  it  to  him. 
LAMBERT.    Yes,  madam. 

(She  pretends  to  try  to  take  it  from  his  hand  and 
pulls  it  open.  It  falls  to  the  floor  scattering 
the  tobacco.) 

ETHEL.  How  careless  of  you,  Lambert.  (She 
looks  keenly  at  spilt  tobacco  and  sees  no  necklace 
has  dropped  from  it) 

LAMBERT.  I  beg  pardon,  Miss.  (He  picks  up 
pouch) 

ETHEL.     Did  you  spill  all  the  tobacco? 

LAMBERT.  (Opens  pouch)  Yes,  miss,  the  pouch 
is  quite  empty.  (He  hands  it  to  her.  She  gives 
sigh  of  relief.  He  starts  R.) 

ETHEL.  (Nodding  her  head  to  L.  door)  No,  I 
think  Mr.  Denby  went  to  the  library. 

LAMBERT.  Yes,  miss.  (He  goes  to  door;  but 
DENBY,  realising  he  must  not  be  seen  there,  has 
gone.  LAMBERT  opens  door)  No,  Miss,  Mr. 
Denby  is  not  in  the  library.  (LAMBERT  exits  L.  u. 

E-) 

ETHEL.  (Under  her  breath)  Thank  God. 
(ETHEL  first  making  sure  no  one  is  watching  or 
listening,  goes  quickly  to  French  ivindow  and  loivers 
the  curtain  as  a  signal.  Crosses  to  stage  center 
and  stands  breathlessly  happy  that  there  is  no  neck 
lace.  She  has  pouch  in  her  hand  standing  at  center. 
In  a  moment  TAYLOR  enters) 

TAYLOR.  Well,  you've  got  him?  Where  is  he? 
Where  is  the  necklace? 

ETHEL.    You  were  wrong — there  is  no  necklace. 

TAYLOR.    You're  crazy. 

ETHEL.  You  said  it  was  in  the  tobacco-pouch — 
I've  searched,  it  isn't  there. 

TAYLOR.  You're  trying  to  protect  him — you're 
stuck  on  him — you  can't  lie  to  me. 


UNDER  COVER  71 

ETHEL.  No,  no,  no — look,  here's  the  pouch. 
There's  no  necklace  in  it. 

TAYLOR.  How  did  you  get  hold  of  it?  (As  he 
takes  pouch  .and  looks  in  it) 

ETHEL.     He  left  it  lying  there  on  the  table. 

TAYLOR.  He  did,  eh?  Well,  of  course  the  neck 
lace  isn't  in  it.  He  suspects  you.  He's  trying  to 
bluff  you.  (Hands  pouch  to  ETHEL) 

ETHEL.    No,  no,  he  hasn't  got  it. 

TAYLOR.  I  know  he  has  and  you've  got  to  find 
out  to-night  where  it  is.  You  may  have  to  search 
his  room. 

ETHEL.     (Steps  dozvn)     I  couldn't.     I  couldn't. 

TAYLOR.  Yes  you  could,  and  you  will.  If  you 
land  him,  use  the  same  signal — pull  down  the  shade 
in  his  room — we'll  be  watching.  I  can  get  in  through 
the  balcony. 

ETHEL.  I  can't!  I've  done  what  you  asked.  I 
won't  try  to  trap  an  innocent  man. 

TAYLOR.  (Snarling)  Oh,  you  won't,  eh?  Well, 
you  will,  I've  been  pretty  nice  to  you,  but  I'm  sick 
of  it.  You'll  go  through  for  me  and  you'll  go 
through  right.  I've  had  your  sister  followed — see, 
look  at  this — (He  opens  paper)  It's  a  warrant  for 
her  arrest — unless  you  land  that  necklace  to-night, 
she'll  be  in  the  Tombs  in  the  morning. 

ETHEL.  (Turning  azvay,  crosses  to  side  of  table. 
Covering  her  face)  Oh,  not  that — not  that. 
(Comes  down  a  few  steps) 

TAYLOR.     It's  up  to  you. 

ETHEL.  (Piteously)  But  what  can  I  do  ?  What 
can  I  do? 

TAYLOR.  (Crossing  to  ETHEL)  I'll  tell  you  what 
you  can  do.  You're  a  good  looking  girl,  make  use 
of  your  good  looks,  get  around  him,  jolly  him,  get 
him  stuck  on  you — make  him  take  you  into  his 
confidence — he'll  fall  for  you — those  guys  always 
do. 


72  UNDER  COVER 

ETHEL.  (Bracing  up}  I  know  he's  innocent — 
so  I — I  will  get  around  him;  I  will  get  his  con 
fidence.  I'll  prove  it  to  you  and  I'll  save  him. 

TAYLOR.  Yes,  but  don't  give  him  your  confidence. 
Don't  give  him  the  least  tip  off — understand?  If 
you  can  get  him  out  in  the  garden,  I'll  take  a  chance 
he  has  the  necklace  on  him.  We'll  nail  him  there. 
And  don't  forget  I've  got  that  warrant.  (He  exits 
and  puts  pouch  on  table.  She  comes  down  to  front 
of  table  and  stands  there,  thinking.  He  exits 
through  French  window  and  to  left) 

DENBY.  (Entering  from  stairs  and  going  to  R. 
of  ETHEL)  Oh,  hello ! 

(ETHEL  bracing  up.  ETHEL'S  note  during  this 
scene  is  "I  must  get  his  confidence  and  prove 
his  innocence. ) 

ETHEL.     Oh,  hello,   I've  been  looking  for  you. 

DENBY.     (Starting  R.)     Shall  we  join  the  others? 

ETHEL.  (Sharply)  No.  No.  (DENBY  turns 
quickly,  looks  at  her,  as  she  goes  on  covering  her  em 
barrassment)  I  want  to  talk  to  you.  (She  sits  L. 
of  table) 

DENBY.    (Crosses  to  R.  of  table)    I  am  flattered — 

ETHEL.  (Sits)  Curious,  isn't  it?  When  you 
like  people  you  may  not  see  them  for  a  year? 

DENBY.  Exactly.  But  when  you  do,  you  begin 
where  you  left  off. 

ETHEL.      (Flirting)      Where  did  we  leave  off? 

DENBY.    Why,  in  Paris 

ETHEL.     But  you've  changed  a  lot  since  Paris. 

DENBY.    For  better? 

ETHEL.     For  worse. 

DENBY.    Oh,  come  now. 

ETHEL.    In  Paris,  you  used  to  trust  me. 

DENBY.    And  you  think  I  don't  now. 

ETHEL.    I'm  sure  you  don't. 

DENBY.    Why?     (Sits  right  at  table) 


UNDER  COVER  73 

ETHEL.  (Lightly)  When  I  asked  you  why  you 
were  in  America  you  put  me  off  with  some  playful 
excuse  that  you  were  just  an  idler.  Tell  me,  didn't 
you  come  over  on  some  important  mission? 

DENBY.  (Slozvly,  beginning  to  suspect  her) 
And  if  1  did,  why  do  you  want  to  know? 

ETHEL.     Shall  we  say,  feminine  curiosity? 

DENBY.  (Seriously)  I  think  not.  You  must 
have  some  more  vital  reason  for  asking  than  a  mere 
whim. 

ETHEL.  (Leaning  forzvard)  I  have — I  want  to 
be  friends,  good  friends — I  regard  frankness  as  a 
test  of  friendship — why  won't  you  tell  me? 

DENBY.  Shall  we  say  man's  intuition?  (A  move 
from  ETHEL)  Oh,  I  know  it's  not  supposed  to  be 
as  good  as  woman's — but  sometimes  it's  much  more 
accurate. 

ETHEL.  So  you  won't  trust  me  after  all? 
(Serious) 

DENBY.     Can  I? 

ETHEL.     Don't  you  think  you  can? 

DENBY.     (Meaningly)      If  you  do 

ETHEL.  But  aren't  we  friends?  (Faces  front) 
Pledged  that  night  under  the  moon  in  the  Bois — 
(Turns  to  DENBY)  You  see,  I  have  memories  of 
Paris,  too. 

DENBY.    You  put  it  as  a  test  of  friendship? 

ETHEL.    Yes. 

DENBY.  (Suddenly  about  to  put  her  to  the  test. 
Rises)  Then  so  do  I.  Miss  Cartwright,  you  were 
right.  I  did  not  come  to  America  idly.  I  came  to 
smuggle  a  necklace  through  the  customs.  I  did  it 
to-day. 

ETHEL.  (Rising  horror-stricken)  You  didn't — 
you  didn't. 

DENBY.     (A  quick  look  around)     Sh,  sh,  I  did. 

ETHEL.  (Turning  toward  fireplace)  Oh,  I'm 
sorry,  I'm  sorry. 


74  UNDER  COVER 

DENBY.  (Eyeing  her  keenly  and  crossing  in 
front  of  table  to  ETHEL)  But  I  fooled  'em. 

ETHEL.  (Afraid  for  him}  Oh,  but  perhaps  you 
didn't. 

DENBY.    What  makes  you  think  that? 

ETHEL.  (Nervously)  How  can  you  be  sure 
they  didn't  suspect? 

DENBY.  Here  I  am  and  there  are  no  detectives 
after  me.  And  if  there  were,  they'd  never  guess  I 
carry  the  necklace  in  my  tobacco-pouch. 

ETHEL.     (Quickly)     But  your  pouch  was  empty. 

DENBY.     (Keenly)     How  did  you  know  that? 

ETHEL.  (Hastily)  I — I  was  here  when  Lambert 
spilt  it. 

DENBY.  (Looks  at  spot  where  pouch  was 
dropped)  Oh,  to  be  sure.  But — I  have  another 
pouch — (Takes  it  from  his  pocket) 

ETHEL.     (Aghast)     Two  pouches? 

DENBY.  One  would  have  done.  They  never 
suspected  me  at  all. 

ETHEL.  But  you  can't  be  certain.  If  they  found 
out  they'd  put  you  in  prison. 

DENBY.    Would  you  care? 

ETHEL.  (Turning  to  front)  Of  course  I  would 
— aren't  we  friends? 

DENBY.     (Pauses)     Are  we? 

ETHEL.  (Not  looking  at  him)  Of  course,  of 
course.  (Turns  to  DENBY)  But  what  are  you 
going  to  do? 

DENBY.  (Straight  to  her)  I've  made  my  plans — 
I  shan't  be  caught.  Whoever  is  after  me,  I  won't 
give  in.  No  matter  what  it  costs  or  whom  it  hurts — 
I've  got  to  win. 

ETHEL.  (Crosses  to  club  fender,  distressed  and 
frightened)  Oh ! 

DENBY.    What  is  it? 

ETHEL.  (Nervously  and  looking  at  DENBY)  Oh, 
nothing.  (Pauses,  crossing  to  above  table)  Isn't 


UNDER  COVER  75 

it  warm  in  here?  (Pauses')  Won't  you  take  me  in 
the  garden  and  show  me  the  moon?  (Not  looking 
at  moon)  It's  gorgeous. 

DENEY.     (Turns  to  ETHEL)     Surely,  come. 

(ETHEL  steps  back,  waits  for  DENBY.  They  start 
for  French  window,  get  half  way  there.) 

ETHEL.  (DENBY  up  to  ETHEL)  No,  no,  after 
all  don't  let's  go.  (Turning  back  to  R.  of  table. 
DENBY  at  window  watching  out  in  garden) 

DENBY.    Why  not? 

ETHEL.  (Shaking)  I  don't  know,  but  let's  stay 
here.  I'm  just  nervous. 

DENBY.  Nonsense,  The  moon  will  take  your 
nerves  away — he's  so  soothing — that  old  chap — 
(Pauses,  ETHEL  is  R.  of  table.  He  takes  step  to 
her.  ETHEL  sighs  facing  front)  What  is  it? 
You're  miles  away. 

ETHEL.      (Slowly)      I'm  thinking  of  my  sister. 

DENBY.  Eh?  Come,  let's  go.  (They  start  up 
toivard  French  window)  Surely  there  are  many 
things  I  can  tell  you. 

(NORA  enters.  A  shrill  scream  off  R.  ETHEL  backs 
to  R.  back  of  table,  then  slowly  to  club  fender 
and  faces  front.  A  slight  pause  and  MONTY 
rushes  on  through  French  window  from  right.) 

MONTY.  (Sharply)  Look  out,  Steve.  (Enters 
R.  to  step  at  window)  Don't  go  out  there ! 

DENBY.    What's  the  matter? 

ETHEL.     (Nervously)     What  is  it? 

MONTY.  (Crossing  to  right  center)  Nora  and 
I  went  for  a  walk  in  the  garden  and  suddenly  two 
men  jumped  from  behind  the  pagoda — (DENBY 
gives  ETHEL  a  look.  Frightened,  she  stares  straight 
ahead  at  the  silence  and  crosses  to  fireplace)  They 


76  UNDER  COVER 

started  for  us  and  one  man  said :  "  No,  we're 
wrong !  "  and  Nora  screamed  and  they  turned  and 
ran  like  the  very  devil. 

(DENBY  "watches  ETHEL  and  crosses  slowly  to  R. 
table  at  left  center.  NORA,  ALICE  and  MICHAEL 
enter  R.  NORA  at  c.,  ALICE  back  of  R.  end  of 
couch,  and  MICHAEL  left  end  of  couch,  talking 
excitedly  and  so  they  play  the  following.) 

NORA.     Wasn't  it  awful — has  Monty  told  you? 

ALICE.     What's  happened? 

MICHAEL.     Won't  somebody  explain? 

NORA.     Oh,  it  was  perfectly  frightful. 

MONTY.    Let  me  tell  it. 

NORA.  You'll  get  it  all  wrong — I  wasn't  half  as 
scared  as  you  were. 

MONTY.  I  was  talking  to  Nora — and  suddenly 
from  the  bushes 


NORA.     Somebody  stepped  right  out- 


MICHAEL.     Wait — wait,  one  at  a  time. 

NORA.  Why,  you  see,  Monty  and  I  went  for  a 
walk  in  the  garden 

MONTY.  And  the  two  men  jumped  out  and 
started  for  us. 

MICHAEL.     Great  Scott! 

ALICE.    What  did  you  do? 

NORA.  I  screamed — and  they  ran  away.  Wasn't 
it  exciting?  (Taking  a  deep  breath)  Just  like  a 
book. 

ALICE.    They  might  have  killed  you. 

MICHAEL.  You  want  a  drink — I'll  ring  for  some 
brandy. 

(NORA    beckons    MR.    and    MRS.    HARRINGTON    to 
French  window.) 

MONTY.  I'd  be  all  right  if  I  could  just  get  one 
long,  deep  breath 


UNDER  COVER  77 

(MICHAEL  in  the  middle,  ALICE  to  R.,  and  NORA 
L.  of  MICHAEL  go  tip  to  window.) 

DENBY.  You  do  look  a  bit  shaken,  old  man. 
What  you  need  is  a  comforting  smoke — there's  a 
pipe  in  my  suitcase. 

MONTY.     But 

DENBY.  Here's  my  tobacco — (Hands  pouch  to 
MONTY) 

MONTY.    Gee,  I  don't  want  that. 

DENBY.  (Looking  at  ETHEL)  That's  all  right, 
I've  smoked  enough  for  to-night,  anyhow.  Only 
when  you're  through  with  it  just  drop  it  in  the 
drawer  in  the  desk  in  my  room,  so  I'll  have  it  for 
coffee  in  the  morning. 

MONTY.  Sure,  Steve,  sure.  I'll  leave  the  pouch 
in  the  drawer.  (Exit  upstairs) 

ALICE.  (ALICE  first,  then  MICHAEL  and  NORA 
coming  down  R.  c.)  But  suppose  those  men  are 
robbers  and  try  to  break  in  here  to-night? 

DENBY.  I'm  sure  they  were  only  a  couple  of 
tramps. 

ALICE.     Oughtn't  we  to  do  something? 

MICHAEL.  (Weakly)  Do  you  want  me  to  look 
for  them? 

ALICE.  Certainly  not.  I  can  imagine  nothing 
more  useless  than  a  dead  husband. 

MICHAEL.     I  absolutely  agree  with  you. 

ALICE.     Go,  telephone  for  the  police. 

(ETHEL  turns  to  MRS.  HARRINGTON.) 

MICHAEL.  I'll  do  that  with  great  pleasure.  (He 
exits  R.  ) 

NORA.  (Going  toicards  stair)  Goodness!  I 
left  my  rings  on  my  dressing-table. 

ALICE.  Heavens !  Let's  get  them.  (She  crosses 
towards  stair.  NORA  runs  upstairs  and  off)  Ethel, 


78  UNDER  COVER 

you  look  frightened  to  death.  (Goes  to  upper  end 
of  fireplace} 

ETHEL.     (On  fender  seat)     Oh,  no,  no. 

ALICE.  You  needn't  worry  after  all.  We've  two 
men  here  and  Michael.  (ALICE  exits  upstairs) 

(ETHEL  turns  away.) 

DENBY.  (Crosses  down  to  table)  Now,  shall  we 
look  at  the  moon? 

ETHEL.     But,  those  men  out  there 

DENBY.  I'm  sure  they  weren't  after  me.  They 
wouldn't  wait  in  the  garden.  And  even  if  they  are 
detectives,  the  necklace  is  safe.  Now  come.  (Moves 
to  go) 

ETHEL.  No,  no,  I'm  nervous.  I'm  afraid.  It's 
been  rather  an  upsetting  evening — I'd  prefer  to  stay 
here. 

MONTY.  (Coming  downstairs  nervously  to  back 
of  table)  I  thought  I'd  rather  be  down  here  with 
you,  Steve. 

DENBY.  (Smiling)  All  right,  old  man.  Did  you 
leave  the  pouch  in  my  desk? 

MONTY.  Yes.  To  make  sure  you'd  find  it  in 
the  morning  I  locked  it  up.  Here's  the  key. 

DENBY.     (Taking  key)     Good! 

ETHEL.  (Registering  this  talk  of  pouch)  Good 
night,  Mr.  Denby.  (Goes  to  stair) 

(  MONTY  crosses  to  D.  n.  c.) 

DENBY.  (Following  her  to  stairs)  You're  not 
leaving.  ? 

ETHEL.  Yes,  I'm  quite  tired.  I  think  I'll  go  to 

my  room.  (Going  up  the  stairs) 

MONTY.  Oh,  I  guess  everything's  all  right  now. 

DENBY.  Let's  hope  so.  Still,  the  night  isn't  over 
yet.  Pleasant  dreams. 


UNDER  COVER  79 

ETHEL.  (On  stair,  halfzvay  to  top  landing)  I'm 
afraid  they  won't  be  quite — that.  {Exits,  upstairs, 
DENBY  at  bottom  of  stairs  looking  after  her) 

MONTY.  (Crossing  to  DENBY)  Say,  Steve,  she's 
gone  now  to  get  into  your  room. 

DENBY.     No,  no,  she  hasn't. 

MONTY.  Why,  she  never  made  a  move  to  leave 
till  she  knew  I'd  put  the  pouch  in  the  drawer. 

DENBY.     I  tell  you  you're  wrong. 

MONTY.  I  tell  you  I'm  right — if  she  gets  that 
necklace  it's  all  up  with  us. 

DENBY.     But  she  won't  get  it. 

MONTY.     What's  going  to  stop  her? 

DENBY.    The  necklace  isn't  up  there. 

MONTY.  What!  (DENBY  draws  the  necklace 
front  a  false  pocket  under  the  right  lapel  of  his  coat. 
Relieved)  Gee,  then  everything's  all  right. 

DEXBY.     But  everything's  all  wrong. 

MONTY.    But,  Steve,  the  necklace. 

DENBY.  Oh,  damn  the  necklace !  (He  turns  and 
looks  after  the  girl) 

Curtain 


So  UNDER  COVER 


ACT  III 

SCENE:  The  scene  is  DENBY'S  room  at  the  HAR 
RINGTONS'.  An  attractive,  daintily  furnished 
guest  chamber.  There  is  an  entrance  door  up 
left  center;  a  door  at  left  to  another  room;  an 
alcove  up  right  center  with  a  bed  and  ap-* 
propriate  furniture  in  it.  A  French  window 
down  right  with  a  balcony  off.  A  table  desk 
at  right  center;  a  couch  down  left  with  a  small 
table  above  it.  Other  furnishings  as  neces 
sary. 

AT  RISE:  When  the  curtain  rises  the  stage  is  in 
complete  darkness,  save  for  the  moonlight  which 
streams  through  the  window.  There  is  a 
slight  pause.  A  key  is  heard  rattling  in  lock 
of  door  left.  ETHEL  opens  door  and  goes 
cautiously  across  stage  to  the  table.  She  turns 
on  lamp  on  table.  After  a  quick  survey  of 
table,  she  takes  paper  knife  and  tries  to  open 
drazver.  She  hears  footsteps  in  hall;  stops, 
listens,  and  runs  up  to  center  door  and  listens; 
runs  back  to  table  and  turns  off  lamp,  and  in 
doing  so  accidentally  brushes  paper  knife  on 
the  floor.  She  runs  off-stage  at  door  left. 

After  a  slight  pause  DENBY  enters  at  door 
center  with  noisy  assurance.  He  stops  fust 
inside  the  door  and  utters  a  stifled  yawn  as  he 
switches  on  lights.  He  goes  over  to  table, 
looks  out  at  window,  then  takes  necklace  from 
lapel  and  looks  at  it  and  puts  it  on  the  table. 
Then  he  goes  to  alcove  and  changes  his  evening 
coat  for  a  dinner  jacket.  He  comes  out,  takes 
cigarette  from  pocket  and  is  in  the  act  of  light 
ing  it  at  c.  when  he  spies  paper  knife  on  floor. 


UNDER  COVER  81 

He  throws  cigarette  and  match  away  and  hur 
ries  to  pick  up  knife,  strikes  match  and  ex 
amines  desk  drawer,  then  goes  to  door  at  left 
and  stands  listening.  Steps  are  heard  in  hall 
up  left.  He  hurriedly  goes  to  table  and  gets 
necklace,  puts  it  in  his  pocket,  comes  back  to 
couch.  A  knock  at  u.  L.  c.  door.  Pause  as  he 
takes  book  from  small  table  and  sits  on  couch, 
reading. 

DENBY.    Who  is  it? 

MONTY.     (Outside)     Me. 

DENBY.     Come  in,  Monty. 

MONTY.  (Enters  up  left  center,  comes  down 
quickly  to  DENBY,  nervously)  Is  everything  all 
right  ?" 

DENBY.     (Laughing)     Yes,  yes. 

MONTY.  (Crossing  to  center)  Thank  the  Lord. 
That's  the  first  time  I've  been  able  to  swallow  com 
fortably  in  an  hour.  I  thought  my  heart  was  per 
manently  dislocated. 

DENBY.     What's  happening  downstairs? 

MONTY.  Nothing.  And  it's  the  limit  to  have 
nothing  happen. 

DENBY.     Did  you  search  the  garden  again? 

MONTY.     Yes,  they  haven't  come  back. 

DENBY.     That's  queer — You're  sure? 

MONTY.  Lambert  and  I've  been  over  the  whole 
place — garden — shrubbery,  even  the  cornfield — not 
a  trace  of  'em. 

DENBY.     Well,  they  will  be  back 

MONTY.    I'll  bet  they  will — with  the  militia! 

DENBY.  (Rises  and  crosses  to  MONTY)  Don't 
lose  your  nerve,  Monty. 

MONTY.      I    wish    I    would.      This    certainly    is 

fetting  on  it — and  all  the  time  I've  got  that  creepy 
eeling  that  they're  coming  closer  to  us. 
DENBY.     But  that's  real  sport,  Monty. 


82  UNDER  COVER 

MONTY.  Sport  be  damned.  You  don't  think  the 
fox  enjoys  the  hunt,  do  you?  And,  at  that,  he's 
got  it  on  us.  He  knows  who's  chasing  him. 

DENBY.    We'll  find  out  to-night. 

MONTY.  Yes,  when  they  shoot  us  full  of  holes. 
(Crosses  to  table  R.) 

DENBY.    You're  not  afraid? 

MONTY.  I'm  scared  to  death.  I  thought  I  wanted 
excitement — but  hereafter  give  me  life  on  a  farm. 
(Crosses  to  window) 

DENBY.  You  can  always  clear  out — I'll  under 
stand. 

MONTY.     (As  he  crosses  to  DENBY)     And  leave 
you  to  face  it  alone — you  ought  to  know  me  better 
than  that,   Steve.      (Crosses   to   R.   c.  in  front  of  * 
chair  L.  of  table)     But  oughtn't  we  do  something 
before  they  come  back  and  search  this  room? 

DENBY.     Somebody's  done  that  already. 

MONTY.     Who  was  it — the  girl? 

DENBY.  I  think  not.  Her  room  is  in  the  other 
wing — She'd  hardly  dare  risk  being  seen  over  here 
till  everybody'd  gone  to  bed. 

MONTY.  Then  who  could  it  be?  (Knock  at  c. 
door  by  HARRINGTON.  DENBY  to  couch,  sits,  takes 
cigarette.  MONTY  dropping  in  chair  L.  of  table 
and  putting  hand  over  mouth)  Pinched! 

DENBY.    Come  in. 

(HARRINGTON,  carrying  two  highballs,  enters  smil 
ingly.) 

HARRINGTON.     Hello,  boys. 

MONTY.  (Relieved,  laughs)  Oh,  it's  you.  (He 
jumps  up  and  crosses  to  window) 

(DENBY  lights  cigarette.) 

DENBY.    Come  in,  Harrington. 

HARRINGTON.     (Crosses  to  table,  puts  tray  with 


UNDER  COVER  83 

highball  glasses  on  it)  Brought  up  a  couple  of 
highballs — you  said  after  dinner  you  might  want  a 
Scotch  later. 

DENBY.     Thanks — I  don't  believe  I  do,  after  all. 

HARRINGTON.  Good!  Luck's  with  me.  (He 
drains  the  entire  glass  with  great  satisfaction') 
Ah-h!  How  about  you,  Monty? 

MONTY.     (Laughing)     No,  thanks. 

HARRINGTON.  Splendid  fellow.  I'll  take  the 
encore  in  a  minute.  You  know  now  that  my  wife's 
home — she  allows  me  one  light  one  for  dinner — 
mostly  Vermouth — and  one  drink  afterward — 
Tain't  fair. 

MONTY.    Aren't  you  master  in  your  own  house? 

MICHAEL.    You  bet  your  life  I'm  not. 

DENBY.  In  union  there  is  strength.  Have  the 
other. 

MICHAEL.  I'm  about  to.  (Slowly  crosses  to 
c. — MONTY  to  table  and  sits  on  it)  Say,  by  the 
way,  if  you  should  change  your  mind  and  want  a 
drink  any  time  during  the  night,  just  ring  for 
Lambert.  He's  used  to  it. 

DENBY.      (Smiling)     Thanks. 

MICHAEL.  I  hope  you  will  want  one.  I  hate  to 
think  of  Lambert's  having  a  good  night's  rest  for 
the  first  time  in  six  weeks — (He  turns  up)  But, 
mind  you,  don't  get  up  half  asleep  and  push  that  red 
thing  over  there.  (He  points  to  alarm  on  the  wall 
right  of  left  center  door) 

MONTY.  (Off  table)  What  on  earth  is  that? 
It  looks  like  a  hotel  fire  alarm — "  Break  the  glass 
in  case  of  fire  ". 

MICHAEL.  It's  a  burglar  alarm  that  rouses  the 
whole  house. 

MONTY.     What ! 

DENBY.  (Laughing)  In  spite  of  our  visitors  of 
this  evening,  you  don't  really  fear  burglars  ? 

MICHAEL.     (Sitting  left  of  table  R.)     I  know  it's 


84  UNDER  COVER 

funny,  but  I'm  vice-president  of  the  New  York 
Burglar  Insurance  Company — and  I've  got  to  have 
one  of  all  of  their  beastly  patents  in  my  house  to 
show  they're  good. 

DENBY.     I'll  keep  away  from  it. 

MICHAEL.  The  last  guest  who  had  this  room 
accidentally  knocked  against  it  at  four  A.  M.  The 
blamed  thing  went  off  and  Mrs.  Harrington  made 
me  get  up  and  search  the  whole  house.  At  that  I 
was  glad  it  was  a  false  alarm — (He  takes  up  second 
highball  and  is  drinking  ivhen  voices  are  heard  off 
stage}  Good  Lord,  my  wife — here,  quick.  (Hands 
MONTY  empty  glass,  then  crosses  to  DENBY  with 
half -filled  one.  ALICE  knocks  on  door  c.)  Boys, 
I  count  on  you. 

(DENBY  rises  and  crosses  to  lower  end  of  couch. 
MONTY  smiles  and  nods.  HARRINGTON  crosses 
to  back  of  table.) 

DENBY.    Come  in. 

(ALICE  and  NORA  enter.     ALICE  to  c.     NORA  to 
left  center.) 

ALICE.  (Pauses  till  she  gets  to  c.)  Do  we 
intrude  ? 

DENBY.     Rather  no.     Delightfully  welcome. 

NORA.  We  thought  you'd  still  be  up — Michael 
said  he  was  bringing  you  some  highballs. 

MONTY.  Great  stuff,  too — best  whiskey  I  ever 
tasted. 

(ALICE   glances   at   MICHAEL,    who   is   innocently 
looking  at  the  ceiling.) 

DENBY.  Your  husband  is  a  noble  abstainer  with 
temptation  right  before  him. 

ALICE.  Is  he?  How  unusual — put  temptation 
before  Michael  and  he's  just  like  old  Adam — only 


UNDER  COVER  85 

Michael's  weakness  is  for  grapes,  (Crosses  to  chair 
L.  of  table  and  sits)  not  apples. 

NORA.  (To  DENBY)  Alice  and  I  aren't  the  least 
bit  sleepy — we  thought  perhaps  one  of  you'd  make  a 
fourth  at  bridge. 

DENBY.  (At  lovver  end  of  couch)  Among  my 
other  deficiencies  I  don't  play. 

ALICE.    You,  Monty? 

MONTY.  (Nervously)  Surely — (DENBY  shakes 
his  head  at  him — MONTY  continues  awkwardly) 
That  is  if  you  don't  mind  waiting  fifteen  or  twenty 
minutes.  Steve  and  I  are  talking  over  a  deal  about 
a — a  gold  mine. 

ALICE.    Are  you  interested  in  a  mine? 

DENBY.     (Smiling)     Something  like  that. 

NORA.  (Half  turkey  trotting)  I'd  rather  dance 
than  bridge  it.  (She  hums  a  late  turkey  trot,  and  as 
she  dances,  DENBY  goes  to  small  table  head  of  couch 
L.  and  places  highball  on  it) 

ALICE.  (Rises)  Heavens,  be  quiet — you'll  dis 
turb  Ethel. 

DENBY.  (Quickly)  Has  Miss  Cartwright  gone 
to  bed?  (He  crosses  back  of  couch  down  left) 

ALICE.    Yes,  she  felt  rather  tired. 

NORA.  (Humming  and  dancing  at  c.)  It's  wrong 
to  go  to  bed  so  early.  It  can't  be  much  after  two. 
(Singing)  Oh,  this  is  the  life. 

ALICE.  (Crossing  to  NORA)  Hush,  hush,  hush 
Nora — Ethel  has  the  next  room. 

(DENBY  at  bookcase  L.  drops  cigarette  in  vase  and 
turns  quickly.) 

NORA.  I  thought  you  weren't  using  it  this  sum 
mer? 

ALICE.     Ethel  insisted  on  it — 

MICHAEL.  (DENBY  crosses  to  door  L.  listening) 
And  why  the  devil  she  was  so  persistent  about  it  I 
can't  see. 


86  UNDER  COVER 

ALICE.  Oh,  Michael,  I  told  you  those  tramps 
scared  her  and  she  wanted  to  be  down  here  near 
the  men. 

MICHAEL.  I  know,  I  know,  but  ,why  make  me 
look  through  forty-seven  bunches  of  keys  to  get  one 
to  fit  that  door?  ( MONTY  and  DENBY  exchange 
looks)  Seemed  positively  afraid  of  you,  Denby, 
thought  you  were  a  tough  customer. 

ALICE.  You're  not  drinking  your  highball,  Mr. 
Denby. 

DENBY.  (Crosses  up,  picks  up  drink  and  stands 
at  table}  I'm  saving  it. 

NORA.    That's  a  hint. 

DENBY.     No,  really 

NORA.  Come  on,  Alice.  (She  goes  to  door 
humming,  and  exits} 

ALICE.     Coming,  Michael? 

MICHAEL.  In  just  a  moment.  I've  got  one  more 
old  wheeze  I  want  to  spring  on  Denby — he's  a  great 
audience  for  old  ones 

ALICE.  When  you've  told  it,  you  come  directly 
downstairs  and  play  bridge. 

MICHAEL.     Certainly,  my  dear. 

ALICE.  And,  Michael — don't  think  you've  fooled 
me. 

MICHAEL.  (Innocently)  Fooled  you?  Why, 
my  dear  I'd  never  dream  of  even  trying  to. 

ALICE.  (Looks  at  MICHAEL,  then  goes  over  and 
takes  highball  from  DENBY'S  hand  and  returning, 
hands  it  to  MICHAEL)  Here's  the  rest  of  your 
drink.  (She  exits  L.  c.  door.  MICHAEL  drinks  and 
goes  up  to  door) 

(DENBY  to  D.  L.) 

MICHAEL.     My  wife's  a  damned  clever  woman. 
(He  obediently  trots  out) 
DENBY.      (Quickly  goes  to   door  to  make  sure 


UNDER  COVER  87 

MICHAEL  has  gone — then  turns  to  MONTY)  By 
George,  it  was  that  girl. 

MONTY.     (Crosses  to  DENBY)     Are  you  sure? 

DENBY.  (Coining  down  center}  She  tried  to  pry 
open  that  drawer  with  this  paper-knife.  You  can 
see  the  marks.  (MONTY  goes  to  drawer}  I  found 
the  knife  on  the  floor  where  she  dropped  it,  when 
she  heard  me  coming  down  the  hall,  and  hurried 
back  to  her  own  room. 

MONTY.     Gee !     That's  pretty  tough,  old  man. 

DENBY.  It's  hard  to  believe  she's  the  sort  of 
woman  who'd  try  to  take  advantage  of  my  friend 
ship  to  turn  me  over  to  the  police,  but  that's  just 
what  she  tried  to  do. 

MONTY.  (Crosses  to  DENBY)  I'm  sorry,  old 
man — mighty  sorry. 

DENBY.     But  I  don't  want  to  fight  her. 

MONTY.     What  are  you  going  to  do? 

DENBY.  I  dont  know.  (Pauses.  Crosses  to  front 
of  table)  If  she'll  tell  me  who  it  is  that  sent  her 
here — the  man  who's  after  me — I'll  fight  him  and 
leave  her  out  of  it. 

MONTY.     But,  if  she  won't  tell  you? 

DENBY.  Then,  I'll  play  her  own  game — only  this 
time  she  follows  mv  rules.  (Crosses  to  R.  end  of 
table) 

(Both  suddenly  start  and  then  turn  towards  door 
left,   with   their   backs   to   audience.) 

MONTY.     (In  a  whisper)     What's  that? 

DENBY.  Ssh — (He  tiptoes  to  door  left  back  of 
table  and  listens) 

MONTY.     (Crosses  to  c.)     Is  she  there? 

DENBY.  (Puts  fingers  over  lip  and  then  crosses 
to  small  table)  Yes. 

MONTY.    Has  she  heard  us  ? 

DENBY.      (Coining   to    MONTY,    center,   quietly) 


88  UNDER  COVER 

No.  I  heard  her  close  the  window  and  then  she 
came  over  to  the  door.  She's  listening  now — (He 
crosses  to  desk  quickly  and  starts  writing) 

(MONTY  at  center  scared  to  death.     Pauses.} 

MONTY.     What  are  you  doing? 

DENBY.  (Writes  and  hands  paper  to  MONTY) 
Sh,  sh.  Here's  my  plan.  Read  it.  (As  MONTY 
reads,  DENBY  goes  up  to  door  c.,  reaches  out  in 
hall — turns  off  light  switch,  leaving  hall  in  darkness. 
He  comes  back  as  MONTY  looks  up  from  paper. 
During  the  reading  of  the  paper  MONTY  has  slowly 
crossed  to  back  of  table  at  right) 

MONTY.  (In  whisper,  reading)  Jumping 
Jupiter ! 

DENBY.     (Low}     Do  you  understand? 

MONTY.    Perfectly. 

DENBY.  (Goes  over  to  ETHEL'S  door,  speaks 
loudly  for  her  benefit}  It's  a  pity  Miss  Cartwright's 
gone  to  bed.  I  might  have  risked  trying  to  learn 
bridge  if  she'd  been  a  player.  She's  a  bully  girl. 
(DENBY  beckons  MONTY  to  come  nearer  and  speak 
louder} 

MONTY.  (Crossing  up  center — speaking  loud) 
Don't  talk  so  loud — in  these  dictagraph  days  the 
walls  have  ears.  We  can't  tell  who  may  be  listen 
ing.  Let's  go  out  on  the  lawn  where  we're  surely 
safe. 

DENBY.  Good  idea.  (He  leaves  ETHEL'S  door 
and  goes  to  door  c.  beside  zvhich  is  light  switch. 
DENBY  switches  out  light  as  he  speaks  loudly} 
Well,  Monty — What's  your  scheme?  (The  door 
closes,  the  room  is  in  darkness.  Audience  thinks 
DENBY  has  left  room  but  he  hasn't.  He  is  standing 
with  his  face  to  the  door  up  left  center.  The 
footsteps  fade  away.  MONTY'S  voice  is  heard 
as  he  goes  down  the  hall.  There  is  silence  for  five 


UNDER  COVER  89 

seconds,  then  the  sound  of  a  key  turning  in  lock  of 
ETHEL'S  door.  ETHEL  enters,  she  hurries  to  desk, 
and  gives  one  pull  at  drawer.  DENBY  pushes  ivall- 
switch  and  the  lights  go  up.  ETHEL  gives  exclama 
tion  and  turns.  DENBY  is  standing  inside  door 
center.  Coming  down  center)  So,  you've  come  for 
the  necklace  !  Why  do  you  want  it  ? 

ETHEL.  (Crosses  to  back  of  chair  left  of  table) 
I  am  employed  by  the  government.  I  was  sent  here 
to  get  it. 

DENBY.  What?  The  charming  Miss  Cartwright 
a  secret  service  agent?  Why,  it's  incredible. 

ETHEL.    But,  it's  true. 

DENBY.     Who  employed  you? 

ETHEL.    I  can't  tell  you. 

DENBY.    Then  I  must  refuse  to  believe  you. 

ETHEL.    But,  it's  the  truth. 

DENBY.  Was  it  John  H.  Bangs  of  the  secret 
service  who  engaged  you? 

ETHEL.    Yes — yes 

DENBY.  (Bitingly)  You  lie,  Miss  Cartwright, 
you  lie. 

ETHEL.     Mr.  Denby. 

DENBY.  I've  no  time  for  politeness  now — There 
is  no  Bangs  in  the  secret  service. 

ETHEL.    How  do  you  know  ? 

DENBY.  It's  my  business  to  know  my — op 
ponents. 

ETHEL.  I  can't  tell  you  who  it  was,  (Crosses  to 
DENBY)  but,  if  you'll  just  give  me  the  necklace — 

DENBY.  And  if  I  refuse,  you'll  call  those  men 
out  there  and  have  me  arrested. 

ETHEL.  I  don't  know — what  else  can  I  do?  I 
can't  fail. 

DENBY.  Nor  can  I.  Do  you  know  what  this 
means  to  me?  Prison  (ETHEL  looks  front)  gray 
walls  and  iron  bars — solitude — to  be  caged  like 
some  beast.  Do  you  know  what  that  means?  I 


90  UNDER  COVER 

do — I've  seen  it — I've  feared  it — I've  gone  sick  at 
the  thought  of  it.  No,  Miss  Cartwright,  you  are 
not  going  to  send  me  to  prison. 

ETHEL.  (Turns  to  DENBY)  But,  I  don't  want 
to.  I  don't  want  to  do  that  to  any  man 

DENBY.  Then  there  is  a  way  out  of  it  for  both  of 
us. 

ETHEL.     (Eagerly)     What? 

DENBY.  Tell  them  you've  failed — that  you 
couldn't  get  the  necklace  and  I'll  give  you  ten  thou 
sand  dollars. 

ETHEL.     No — no 

DENBY.  Twenty  thousand — no  one  but  you  and 
me  would  know 

ETHEL.     No 

DENBY.    Twenty  thousand's  all  I  can  afford. 

ETHEL.  I  can't  accept.  I've  got  to  get  that  neck 
lace — It  means  more  than  any  money  to  me. 

DENBY.     Ah,  they  have  some  hold  on  you. 

ETHEL.    No,  no — (Crosses  to  chair  left  of  table) 

DENBY.  Then  why  should  you  be  in  the  secret 
service,  unless  it's  for  money,  or  you've  been  forced 
into  it? 

ETHEL.  I  can't  explain — what  difference  does  it 
make  to  you  who  sent  me  here  ? 

DENBY.  Because  I  don't  want  to  fight  a  woman — 
any  woman — I'll  fight  the  man  behind  you — I'll 
trick  him — I'll  beat  him — (DENBY  crosses  to 
ETHEL)  Will  you  tell  me  who  he  is? 

ETHEL.    No. 

DENBY.     You're  going  to  make  me  fight  you? 

ETHEL.     (Turns  to  DENBY)     I've  got  to  fight — 

DENBY.  Very  well — (Going  to  door  L.  he  opens 
it — takes  key  from  other  side,  closes  door  and  locks 
it  and  puts  key  in  his  pocket) 

ETHEL.    What  do  you  mean? 

DENBY.  I'm  going  to  keep  you  here.  (ETHEL 
tries  to  open  up  center  door  but  it  is  locked;  then 


UNDER  COVER  91 

she  turns  and  faces  DENBY)  I  feared  we  might  be 
interrupted — 

ETHEL.  (Turning  to  him,  and  crossing  to  back  of 
small  table  above  couch)  Open  that  door 

DENBY.  (Crosses  to  ETHEL)  You  don't  leave 
until  I  am  ready  to  let  you  go. 

ETHEL.     You  wouldn't  do  that 

DENBY.  (Crosses  to  her)  I  regret  the  neces 
sity  of  using  such  methods — on  you  of  all  people — 
but  you  leave  me  no  choice 

ETHEL.    But,  I  don't  understand 

DENBY.  (To  R.  c.)  Only  that  you  are  a  beauti 
ful  woman  and  I  am  a  man.  (She  shrinks  away) 
It's  nearly  three — you  are  in  my  room  after  asking 
that  your  apartment  adjoin  mine — your  insistence 
that  a  key  be  found  is  only  incriminating — you  are 
frankly  en  negligee  and  very  charming.  Inevitably 
you  must  be  found  here — I'm  afraid  there  can  be 
only  one  construction  put  upon  it. 

(ETHEL  at  R.  c.) 

ETHEL.  (With  bitter  contempt)  I  thought  at 
least  you  were  a  man ! 

DENBY.  I  am — and  you  are  a  woman — that's  the 
point. 

ETHEL.    I  thought  you  were  my  friend. 

DENBY.  You  dare  talk  of  friendship  !  You  knew 
I  liked  you — liked  you  very  much,  and  because  you 
knew  it  you  tried  to  wheedle  me  into  betraying  my 
self.  You  smiled,  and  lied,  and  pledged  our  friend 
ship,  until  I'd  told  you  the  truth — and  all  the  time 
you  were  only  trying  to  trap  me — hunt  me  down — 
send  me  to  prison. 

ETHEL.    I  wasn't — I  wasn't 

DENBY.  And  when  I'd  told  you  the  truth,  you 
asked  me  to  go  in  the  garden,  knowing  that  those 
men  out  there  were  waiting  for  me. 

ETHEL.     I  couldn't  help  it. 


92  UNDER  COVER 

DENBY.  When  you  thought  I  was  sending  the 
necklace  here  you  trumped  up  a  flimsy  excuse  to 
leave  so  you  might  sneak  in  here  to  get  it — is  that 
friendship  ? 

ETHEL.  (Turns  to  him)  I  wasn't  trying  to 
trap  you — I  thought  you  were  innocent — I  wanted  to 
make  sure  so  I  could  convince  them — 

DENBY.  Yes,  you  proved  that.  When  you  found 
out  I  was  guilty  you  still  tried  to  save  me,  I  suppose, 
by  asking  me  to  walk  into  their  trap? 

ETHEL.  (Faces  him,  trying  to  defend  herself) 
After  all,  you  had  broken  the  law — you  were 
guilty 

DENBY.  (Comes  to  her)  If  you  had  only  played 
fair,  but  you  didn't — you  used  a  woman's  last 
weapon — her  sex.  Well,  I  can  play  your  game,  too 
—I  can  use  your  methods — and  I  will.  You  stay 
here  until  morning. 

•ETHEL.     (Frightened)     You  don't  dare 

DENBY.     (Easily)     Oh,  yes,  I  do. 

ETHEL.  (Turns  and  crosses  to  front  of  table  R., 
then  turns  back.  After  a  pause — with  bravado) 
And  you  think  the  possible  loss  of  my  reputation 
is  going  to  frighten  me  into  letting  you  go? 

DENBY.    I  do. 

ETHEL.  Well,  you're  wrong.  I  have  only  to  tell 
them  the  truth  about  the  necklace  and  what  I'm 
doing  here 

DENBY.  But  the  truth  is  so  seldom  believed — 
especially  when  there  is  no  evidence  to  support  it. 

ETHEL.  All  the  evidence  I  need  is  there,  in  that 
locked  drawer.  (Turning  and  pointing  to  drawer) 

DENBY.  Quite  so.  I'd  forgottten — (He  goes 
around  to  back  of  desk,  ETHEL  crosses  to  c. — keep 
ing  her  eyes  on  DENBY)  only  it's  not  in  the  drawer! 
(He  takes  it  from  his  pocket  and  shows  it.  ETHEL 
gasps)  It's  a  beauty,  isn't  it?  (He  writes  quickly) 

ETHEL.     (At  center)     What  are  you  doing? 


UNDER  COVER  93 

DENBY.     Manufacturing  evidence. 

ETHEL.    Meanwhile  I  propose  to  leave  this  room. 

DENBY.    How,  may  I  ask? 

ETHEL.  If  you  believe  you've  frightened  me, 
you're  quite  mistaken  (She  moves  towards  bell,  on 
wall,  left  of  center  door) 

DENBY.    And  what  are  you  going  to  do  ? 

ETHEL.  (Pushes  bell  violently)  I've  rung  for 
the  servants.  (Triumphantly)  Now,  Mr.  Denby. 

(DENBY  looks  up.) 

DENBY.  What  a  pity  you  did  that — you'll  regret 
it  so  very  soon. 

ETHEL.  Oh,  shall  I  ?  When  the  servants  come  I 
shall  send  for  Mr.  and  Mrs.  Harrington  and  tell 
them  exactly  who  you  are  and  I  shall  take  tbat 
necklace  from  the  room  with  me. 


(DENBY  wraps  necklace  in  note  he  has  written; 
crosses  to  window,  signals  with  curtain;  whistle 
is  heard  off-stage.) 

DENBY.  (Throws  necklace  wrapped  in  note  he 
has  just  written  out  of  window)  But,  you  see,  the 
necklace  won't  be  here. 

ETHEL.  (Runs  dozvn  by  desk,  as  if  almost  to 
stop  him,  but  the  necklace  is  gone.  She  stops  at  L. 
side  of  desk  and  above  it)  I  shall  tell  them  it's  on 
the  lawn  where  you  just  threw  it. 

DENBY.  Wrong  again.  If  you'll  stand  here,  you 
may  see  that  my  friend  Monty  was  waiting  below — 
he  has  it. 

ETHEL.  But,  your  friend  Monty  can't  get  away 
from  those  men  out  there. 

DENBY.  Perhaps  you  heard  a  whistle.  That  was 
Monty's  signal  telling  me  the  coast  was  clear.  For 


94  UNDER  COVER 

the  moment  your  friends  of  the  secret  service  have 
gone. 

ETHEL.  But  I'll  tell  the  Harringtons  about 
Monty,  too ;  that  he's  your  accomplice. 

DENBY.  (Crosses  to  ETHEL)  And  who  would 
believe  Monty  Vaughn,  of  the  Washington  Vaughns, 
the  accomplice  of  a  smuggler? 

ETHEL.     (Beaten)     Oh!     (Backs  to  center) 

DENBY.  You  see  ?  And  since  you  forced  me  I've 
had  to  play  my  last  card,  and  a  very  low  one — 
(Crosses  to  ETHEL)  I'm  sorry  to  say.  That  note 
I  wrote  that  I  threw  to  Monty  he'll  leave  on  the 
floor  of  the  living-room — it  was  a  note  to  you. 

ETHEL.     (Amazed)     To  me? 

DENBY.  It  contained  the  suggestion  that  you 
try  to  get  the  room  next  to  mine — that  you  come  to 
me  here  to-night — it  was  the  invitation — of  a  lover! 

ETHEL.  (Flaming.  Backs  away  to  L.  c.)  You 
beast !  You  coward  ! 

DENBY.  (At  c.)  It's  certain  to  be  found  where 
you  apparently  dropped  it — its  evidence  is  con 
clusive.  They  all  know  we  are  not  new  friends. 
If  you  are  still  in  this  room  in  the  morning — as  you 
will  be — what  other  explanation  can  you  offer? 
(She  doesn't  answer)  I  think  the  episode  of  the 
necklace  remains  as  between  just  you  and  me. 
(DENBY  crosses  to  back  of  table-desk,  looking  out 
the  window) 

ETHEL.     (Turning  away)     You  cad! 

DENBY.  (Pauses — DENBY  crosses  R.  behind  desk) 
The  servants  seem  to  be  sleeping  soundly — I  fear 
they  are  not  coming. 

ETHEL.  (A  step  dozvn-stage)  But,  they  will — 
they  will. 

DENBY.  If  they  don't,  may  I  suggest  that  you 
ring  that  burglar-alarm?  (Crosses  to  ETHEL)  It 
will  serve  your  purpose  even  better — it  will  wake 
up  everybody.  (He  speaks  urgingly.  She  faces 


UNDER  COVER  95 

front;  he  is  close  beside  her)  Why  don't  you  ring 
it?  I  dare  you!  (Knock  on  door  c.  she  shudders, 
and  looks  out  front.  He  whispers  to  her)  Well, 
why  don't  you  answer?  (ETHEL  pauses.  Shrinks) 
Ah — (Backs  up  to  door  up  left  center  and  watching 
ETHEL.  Aloud)  \Vho  is  it? 

LAMBERT.     (Off-stage)     You  rang,  sir? 

DENBY.  Yes,  I  forgot  to  tell  you  that  Miss 
Cartwright  wishes  to  be  called  at  seven. 

LAMBERT.    Very  good.    Anything  else,  sir? 

DENBY.  Call  me  at  the  same  time.  That's  all. 
Good-night. 

LAMBERT.  Good-night,  sir.  (He  is  heard  depart 
ing  dozvn  the  hall — DENBY  listening  at  door) 

DENBY.  (Mockingly;  he  comes  down  to  her) 
So  you  didn't  dare  denounce  me,  after  all? 

ETHEL.  (Turning  to  DENBY,  trying  to  laugh) 
Oh,  I  knew  it  was  all  a  joke — that  you  couldn't  be 
so  contemptible. 

DENBY.     (Grimly)     A  joke,  eh? 

ETHEL.  Yes,  if  you'd  meant  what  you  said  you'd 
have  called  in  Lambert  just  then.  That  would  have 
answered  your  purpose — I  knew  you  wouldn't — 
that  you  couldn't. 

DENBY.     I'm  not  ready  yet. 

ETHEL.  (Hardly  daring  to  believe  him)  You 
really  mean  to  keep  me  here? 

DENBY.     I've  no  other  course. 

ETHEL.  But  you  can't  do  it.  (Clock  off-stage 
strikes  three.  DENBY  looks  at  zvatch) 

DENBY.  (Crosses  to  back  of  table  desk. 
Serenely)  It's  for  four  hours  till  the  maid  goes  to 
call  you  and  finds  the  room  empty,  so  meanwhile 
won't  you  sit  down,  Miss  Cartwright?  (Indicat 
ing  chair  left  of  table  desk.  DENBY  looks  out  of 
zvindozv) 

ETHEL.  (Crosses  to  desk  and  as  she  sinks  into 
chair,  speaks  hysterically;  dropping  her  head  on 


96  UNDER  COVER 

her  arm  on  the  table)  Oh,  I  can't  face  it — I  can't — 
I  learned  that  just  now,  the  disgrace — the  humilia 
tion — I  can't  face  it ! 

DENBY.  (Turns  up-stage.  Grimly)  You've 
got  to  face  it. 

ETHEL.  I  tell  you  I  can't — it's  unfair — it's 
horrible — if  you'll  just  let  me  go — I'll  promise  I 
won't  betray  you. 

DENBY.  You  don't  dare  keep  silent  about  me — 
how  can  I  let  you  go? 

ETHEL.     I'm  telling  you  the  truth. 

DENBY.  (Leaning  over  table  to  her)  Then  tell 
me  who  sent  you  here.  (ETHEL  turns  head  away) 
If  you  don't,  it  means  prison  for  me  and  dishonor 
for  you — if  you  do  tell,  it  means  your  safety — per 
haps  mine — now  choose.  (DENBY  crosses  quickly 
around  to  her  right,  then  she  rises) 

ETHEL.  (Pauses,  sobbing)  I  can't — I  can't — 
oh,  please,  please — (She  turns  face  front) 

DENBY.  (He  takes  her  by  both  wrists,  grasps  her 
in  his  arms)  I'll  make  you  tell. 

ETHEL.  Don't  touch  me — let  me  go — don't — 
don't 

DENBY.  Who  sent  you  here  ?  (He  fairly  shakes 
her) 

ETHEL.    I'm  afraid — I'm  afraid. 

DENBY.    Who  sent  you  here? 

ETHEL.  I  hate  you ;  I  hate  you !  Let  me  go,  let 
me  go — don't 

DENBY.  (Takes  her  in  his  arms)  Who  sent 
you  here? 

ETHEL.  Oh,  I'll  tell.  Oh,  I'll  tell— (Backing 
away  from  him  as  he  releases  her.  She  sinks  into 
chair — pathetic — broken)  I  can't  go  through  with 
it — you've  beaten  me — (Looking  at  DENBY)  Oh, 
I've  tried  so  hard,  so  hard,  but  you've  won.  I  can't 
go  on — oh,  it's  too  unfair  when  it's  not  my  fault — 
it's  not — Oh,  you  don't  understand — you  can't  or 


UNDER  COVER  97 

you  wouldn't  spoil  my  whole  life  like  this — you 
wouldn't !  It  is  not  only  me — it's  my  mother — my 
sister  Amy — (She  pauses.  Looks  up)  Amy! 
(She  rises)  No,  I  won't  quit — no  matter  what 
happens  to  me — I'll  expose  you — I'll  tell  them  every 
thing — I'll  let  them  decide  between  us — whether 
they'll  believe  you  or  me — it's  you  or  my  sister.  I'll 
save  her. 

DENBY.     (Amazed)     Your  sister? 

ETHEL.     They  shan't  send  her  to  prison. 

DENBY.  (Hoping  against  hope)  You're  doing 
all  this  to  keep  your  sister  from  prison? 

ETHEL.  Yes,  yes,  I  love  her — they  shan't  take 
her. 

DENBY.  Then  you  haven't  done  it  because  you 
wanted  to? 

ETHEL.  No,  no — what  else  could  I  do  ?  She's  my 
sister — she  comes  first. 

DENBY.  Then  you  weren't  just  lying  to  me — try 
ing  to  trick  me  for  money? 

ETHEL.  No,  no.  (DENBY  backs  away  to  c.) 
Don't  you  see,  I  wanted  to  save  you,  too — I  wanted 
you  to  get  away — I  told  them  you  were  innocent — 
but  they  wouldn't  believe  me — they  said  I  had  to  go 
on — (Slowly  crosses  to  DENBY)  if  I  didn't,  they'd 
send  Amy  to  prison.  That's  why  I'm  here. 
(Pathetically)  Oh,  let  me  go — let  me  go! 

DENBY.  (Looking  her  squarely  in  the  eyes)  Are 
you  telling  me  the  truth? 

ETHEL.  Oh,  yes,  yes — can't  you  see  I  am — 
please,  please  believe  me. 

DENBY.  (Looking  straight  in  her  eyes,  takes 
her  by  her  arms.  After  a  moment  he  is  convinced, 
as  he  goes  to  door  left  and  unlocks  it)  It  may  spoil 
everything  I've  built  on,  but  I've  got  to  take  the 
chance.  You  can  go,  Miss  Cartwright.  (Goes  to 
small  table  by  couch) 


98  UNDER  COVER 

ETHEL.  (Coming  to  him  with  her  hands  to 
gether}  Oh,  you  are  a  man  after  all. 

(DENBY  has  her  hands  and  is  about  to  put  arm 
around  her — Police  whistle  off  R.  They  both 
pause  staring  front  with  their  heads  together.) 

DENBY.  (Hurriedly  crosses  to  window  R.  pulls 
chair  in  up  right  corner  out  of  his  way  and  half 
hiding  behind  up-stage  curtain,  looks  out)  The 
devil ! 

ETHEL.    What  is  it? 

DENBY.  Your  friends  of  the  secret  service  have 
come  back — they  mustn't  see  us  together — (He 
loivers  shade  on  window  R.) 

ETHEL.  (With  a  scream)  What  have  you  done? 
That  was  the  signal  that  I'd  trapped  you — that  was 
the  signal  to  bring  Taylor  here 

DENBY.  (Triumphantly,  crossing  to  lower  end 
of  table-desk)  Ah,  then  it's  Taylor  who's  after  me? 

ETHEL.  (Frightened  at  having  told)  Oh,  I 
didn't  mean  to  tell — I  didn't — I  didn't. 

DENBY.  (Crossing  to  her  in  front  of  table) 
Now,  it'll  be  a  fight  to  a  finish! 

ETHEL.     Go,  go,  before  he  comes ! 

DENBY.  And  leave  you  to  face  him  alone?  (A 
pause — he  bends  his  head,  and  touches  his  lips  to 
her  hand)  No — I  love  you. 

ETHEL.  Please — please — while  there's  time — he 
mustn't  take  you — he  mustn't — Oh,  I  couldn't  bear 
it — I  couldn't — 

DENBY.      (Realising)     Ethel! 

ETHEL.  (In  his  arms,  tenderly)  I  love  you — 
Oh,  my  dear — I  love  you. 

DENBY.  (Triumphantly)  I  can  fight  the  whole 
world  now,  and  win. 

ETHEL.  No,  no,  for  my  sake  go — let  me  see  him 
first — let  me  try  to  get  you  out  of  it. 


UNDER  COVER  99 

DENBY.  No,  I  stay  here.  When  he  comes,  say 
that  you've  caught  me. 

ETHEL.  No,  no,  I  can't  send  you  to  prison, 
either. 

DENBY.  I  won't  go  to  prison.  I'm  not  done  for 
yet,  but  Taylor  mustn't  think  you've  failed  him;  do 
you  understand? 

ETHEL.    But  then  he'll  take  you  away. 

DENBY.  Do  as  I  say;  tell  him  the  necklace  is 
here  somewhere. 

ETHEL.     No,  no 

DENBY.  It's  for  your  sister.  We're  going  to 
save  her.  (Sounds  of  TAYLOR'S  approach  off 
stage)  He's  coming.  (DENBY  starts  to  door  c. 
Turning  L.) 

TAYLOR.  (Coming  in  at  windozv  with  revolver 
in  hand,  crosses  to  u.  R.  c.)  Hands  up,  Denby! 
(DENBY'S  hands  go  up  at  u.  c.)  Well,  congratula 
tions,  Miss  Cartwright,  you  landed  him — I  thought 
you  would. 

DENBY.  What's  the  meaning  of  this !  Who  are 
you? 

TAYLOR.  Oh,  can  that  bunk — (To  ETHEL) 
Where's  the  necklace? 

ETHEL.     I  don't  know. 

TAYLOR.    You  don't  know? 

ETHEL.  I  haven't  been  able  to  find  it,  but  it's 
here  somewhere. 

TAYLOR.    He's  probably  got  it  on  him. 

DENBY.    All  this  is  preposterous. 

TAYLOR.   Hand  it  over. 

DENBY.    I  have  no  necklace. 

TAYLOR.  I'll  have  to  search  you.  (Comes  to 
DENBY,  gun  in  hand  and  searches  him) 

DENBY.    I'll  make  you  pay  for  this. 

TAYLOR.  Will  you  give  it  to  me — or  have  I  got 
to  search  this  place? 


ioo  UNDER  COVER 

DENBY.  Oh,  well,  if  you'll  let  me  take  my  hands 
down  I'll  get  it  for  you. 

TAYLOR.  Well,  you  haven't  got  a  gun  on  you — 
take  'em  down. 

DENBY.  It's  right  here.  (He  grabs  match  safe 
from  bookcase  and  smashes  burglar-alarm,  alarm 
starts — switches  off  lights,  stage  is  entirely  dark. 
Voices  start  off-stage.  TAYLOR  utters  an  ejacula 
tion — there  is  a  steady  murmur  of  a  deep  gong  off 
stage;  they  struggle  in  the  dark.  ETHEL  in  dark 
goes  up  to  light  switch  R.  of  c.  door.  The  revolver 
is  fired  in  struggle.  ETHEL  screams)  Turn  on  the 
lights. 

(ETHEL  switches  on  lights  and  comes  down  to 
lozver  end  of  couch.  DENBY  is  seen  in  posses 
sion  of  revolver,  just  thrusting  TAYLOR  a^vay 
from  him  and  covering  him  with  the  revolver.) 

TAYLOR.     Damn  you ! 

DENBY.     (To  TAYLOR)     Sit  down!     Sit  down! 

(TAYLOR  sits  chair  L.  of  desk,  as  knocking  and 
clamor  of  voices  at  door  c.  begin.  DENBY  keep 
ing  TAYLOR  covered,  backs  up  to  door,  fishing 
in  his  pocket  for  key,  reaches  behind  him  and 
unlocks  and  opens  it.  Alarm  stops.  MICHAEL, 
to  c.  ALICE,  to  L.  c.,  and  LAMBERT  enters, 
crosses  to  back  of  desk.) 

MICHAEL.     What's  the  matter?"] 

ALICE.     Good  Heavens,  what's    ^Together. 

happened  ? 

DENBY.    That  man  tried  to  break  in  here — he's  a 

burglar — I  caught  him. 
MICHAEL.     Good  Lord !  ) 

ALICE.    How  splendid  of  you.    [Together. 

(MICHAEL  and  ALICE  are  left  of  DENBY.    As  they 


UNDER  COVER  101 

enter  they  come  down  center.     LAMBERT  has 
gone  behind  desk.) 

TAYLOR.  The  man's  crazy — don't  believe  him — 
he's  a  crook.  I'm  an.  agent  of  the  United  States 
Customs — I  came  here  to  get  Denby. 

DENCY.  That's  a  pretty  poor  bluff.  This  is  one 
of  the  men  who  were  in  the  garden  to-night. 

ALICE.     I  told  you  they'd  break  in. 

MICHAEL.     Good  work,  Denby. 

TAYLOR.    I  tell  you  I  came  to  arrest  him. 

ALICE.  Arrest  that  charming  man?  Why,  that's 
absurd. 

TAYLOR.  Absurd,  eh?  You  won't  think  so  when 
you  learn  who  T  am.  That  girl 'can  tell  you. 

ALICE.    Ethel  can  tell  us? 

(They  all  turn  to  look  at  her.) 

MICHAEL.    Ethel ! 

ETHEL.  (Facing  front,  after  a  second)  I  never 
saw  the  man  before. 

TAYLOR.  You  didn't,  eh?  I  guess  you'll  remem 
ber  me  when  I  serve  a  warrant  for  your  sister's 
arrest.  (ETHEL  sits  on  couch)  I've  got  it  in  my 
pocket  and  papers  proving  that  I'm  working  for  the 
United  States  Government.  (He  readies  hand  to 
wards  inside  coat  pocket  to  get  them) 

DENBY.  (Poking  gun  under  his  nose)  No,  you 
don't !  (DENBY  moves  his  hand  torvard  TAYLOR'S 
pocket  to  get  them} 

TAYLOR.     (Snarling)    Here,  don't  you  touch 'em ! 

DENBY.  (Smoothly)  Certainly  not — Mr.  Har 
rington  will  get  them. 

(MICHAEL   crosses   to   TAYLOR;   starts   to   look   at 

them.) 

DEXBY.  (Grabbing  papers  -from  HARRINGTON'S 
hc.nd)  Keep  out  of  range,  Harrington.  (HAR- 


102  UNDER  COVER 

RINGTON  backs  up  above  TAYLOR.  DENBY  backs  to 
door  c.,  hastily  glancing  at  papers}  It's  all  right, 
Miss  Cartwright — it's  all  right.  (Exits  door  c.) 

(ETHEL  rises  and  up  to  c.  door  last.) 

TAYLOR.  Grab  him.  I  tell  you!  He's  a  crook! 
(Ad  lib.  He  blows  whistle)  Don't  let  him  get 
away.  (He  runs  off  c.  MICHAEL,  ALICE  and 
LAMBERT  after  him  screaming  dozvn  hall.  ETHEL 
goes  up  to  door  c.  and  looks  anxiously  dozvn  hall. 
DENBY,  having  fooled  them  and  disappeared,  runs 
on  from  door  left,  locks  it  and  motions  ETHEL  to 
follow  others.  ETHEL  exits  center  as  the  voices 
and  whistle  keep  up  off-stage  as 

The  curtain  falls 

(Picture:  DENBY,  gun  in  hand  at  door  c.  slightly 
open,  looking  off.  Pandemonium  reigns  in 
hallway.) 


UNDER  COVER  103 


ACT  IV 

SCENE  :  The  scene  is  the  same  as  that  of  ACT  II. 
The  action  is  supposed  to  begin  five  minutes  be 
fore  the  conclusion  of  ACT  III.  When  the  cur 
tain  rises,  ALICE,  R.  of  table,  NORA,  lower  side 
of  table  with  her  back  to  audience,  and 
MICHAEL,  sits  at  upper  side  of  table,  are  dis 
covered  playing  bridge.  MICHAEL  is  fast 
asleep.  ALICE  is  counting  on  score  sheet. 

ALICE.  (Seated  R.  of  table.  Looking  up)  What 
on  earth  is  keeping  Monty? 

NORA.      (Seated  at   table)      Oh,   I   don't  know. 

ALICE.  He  must  have  an  awful  headache  to  stay 
out  in  the  garden  all  this  time. 

NORA.  Goodness,  he's  been  gone  twenty  minutes. 
(Rising  and  going  to  windows  at  up  R.  c.) 

ALICE.    And  look  at  Michael,  fast  asleep 

NORA.  It's  those  highballs  he  just  had  upstairs  in 
Mr.  Denby's  room. 

ALICE.  I  told  you  they  always  made  him  sleepy. 
Michael!  (She  leans  over  as  if  to  wake  him) 

NORA.  (Coming  back  of  ALICE  to  R.)  Before 
you  wake  him,  do  tell  me  what  happened  in  Jane's 
divorce  case. 

ALICE.  Although  the  judge  was  a  man — she  won 
it. 

NORA.    I  wonder  why  she  married  him. 

ALICE.  My  dear,  don't  go  into  that.  Why  any 
body  ever  marries  anybody  is  never  apparent  to 
anybody  else. 

NORA.    Marriage  is  funny. 

(MONTY'S  whistle  heard  off-stage.) 


104  UNDER  COVER 

ALICE.  If  there  weren't  so  many  awful  things 
against  it,  I'd  be  tremendously  in  favor  of  trial 
marriage. 

NORA.  Wouldn't  it  be  wonderful — I  get  so  bored 
going  around  with  one  man. 

ALICE.  That's  the  difficulty — so  does  every  other 
woman. 

NORA.  Still,  I  do  like  Monty — but  he's  such  a 
coward  about  proposing. 

ALICE.     Why  don't  you  make  him? 

NORA.  Oh,  I  will — yet.  (  MONTY  enters  from 
garden  from  left,  nervously  stuffing  into  his  breast 
pocket  the  package  containing  the  necklace  that 
DENBY  threw  him  from  the  window  in  ACT  III) 
Oh,  hello!  (To  seat) 

MONTY.  (Nervously)  How  do  you  do.  Hope  I 
haven't  delayed  the  game  too  long. 

NORA.     We  never  missed  you. 

ALICE.     How's  your  headache? 

MONTY.  My  headache?  What  headache?  (Re 
membering)  Oh,  it's  all  gone.  Well,  shall  we  play  ? 
(He  picks  up  cards  as  he  sits  at  left  of  table) 

NORA.  Yes,  let's — Michael  dealt,  before  he  went 
to  sleep. 

ALICE.  (Tapping  MICHAEL)  Michael!  You're 
not  at  the  opera — you're  playing  cards. 

MICHAEL.  (After  a  pause — drowsily)  Who 
opened  it? 

ALICE.  We're  playing  bridge,  dear — bridge, 
bridge,  bridge. 

(The  clock  strikes  three.  In  ACT  III,  five  minutes 
before  the  curtain  a  clock  also  struck  the  same 
hour.) 

NORA.    I  make  it  no  trumps. 
ALICE.     It  isn't  your  bid.     What  do  you  say, 
Michafel  ? 


UNDER  COVER  105 

MICHAEL.    What'd  the  dealer  draw? 

ALICE.    We're  not  playing  poker. 

MICHAEL.    Oh,  yes,  sure,  what's  trumps? 

ALICE.    Oh,  stop  it !     It's  your  bid. 

MICHAEL.     I  go  one  spade. 

MONTY.     One — no  trump. 

NORA.    Two  royals. 

ALICE.     Pass. 

MICHAEL.     Give  me  three  cards. 

(Everybody  disgusted.) 

ALICE.  Michael,  if  you're  so  sleepy,  you'd  better 
go  to  bed. 

MICHAEL.  I  never  broke  up  a  poker  game  in  my 
life.  It's  only  the  shank  of  the  evening.  (To 
NORA)  What's  happened,  partner? 

NORA.    I  went  two  royals. 

MICHAEL.  (Looking  at  his  hand)  Three  aces — 
I'd  like  to  open  it  for  two  dollars — as  it  is,  I  pass. 

MONTY.    Two  no  trump. 

NORA.     Pass. 

ALICE.     Pass. 

MICHAEL.     It's  by  me. 

MONTY.     Your  lead,  Nora 

(ALICE  lays  down  dummy.) 

MONTY.    Fine  little  partner,  just  what  I  wanted ! 

NORA.  Wish  I  had  luck  like  that.  (NoRA  plays, 
then  MONTY  plays  from  dummy) 

MICHAEL.     (Playing)     There 

NORA.  (To  MICHAEL)  What  did  you  play  that 
for? 

MICHAEL.  (Withdrawing  card)  I  do  beg  your 
pardon.  WThat's  trumps? 

ALICE.     No  trumps ! 

MICHAEL.  Well,  I  haven't  got  one.  (He  plays 
another  card) 


106  UNDER  COVER 

NORA.  Oh,  Michael,  can't  you  see  the  king  is  in 
the  dummy? 

MICHAEL.  Well,  why  put  it  there?  This  game 
makes  me  sick.  Nothing  but  reproaches. 

NORA.  I  wish  Mr.  Denby  were  playing,  instead 
of  poor  Michael. 

MONTY.  Steve's  got  the  right  idea — he's  in  bed 
asleep. 

MICHAEL.  Great  man,  Denby — he  knows  you 
can't  sit  up  all  night  unless  you  drink. 

ALICE.  Oh,  let's  play  one  more  rubber  and  stop. 
Remember,  Michael,  it's  not  poker. 

MICHAEL.  I  wish  it  were — no  partners — no  re 
proaches  in  poker.  If  you  make  a  fool  of  yourself 
you  lose  your  own  money  and  everybody  else  is 
glad  of  it. 

ALICE.  After  this,  one  round  of  jacks  then,  to 
please  Michael. 

MONTY.     And  then  quit. 

MICHAEL.  I'm  for  that.  (Yawning}  But  don't 
think  it's  because  I'm  sleepy.  I'm  not.  I'm 
thirsty. 

(The  burglar  alarm  rings.  All  rise.  NORA  dozvn 
right,  MONTY  down  left,  ALICE  and  MICHAEL 
over  to  bay  window.  Amazed — look  at  each 
other  and  then  toward  stairs.) 

NORA.    Good  Heavens ! 
ALICE.     What'll  we  do? 

MONTY.     Nonsense — the   alarm's  probably  gone 
off  by  accident.     (Sound  of  shot  off-stage) 
ALICE.     Somebody's  killed.      (Crossing  to  R.) 
NORA.     (Crossing  to  ALICE  R.  c.)     Isn't  it  awful? 

( MONTY  has  gone  to  L.  of  table.) 
MICHAEL.     (ALICE  and  MICHAEL  down  center. 


UNDER  COVER  107 

In  front  of  table)     Go  on,  Monty,  find  out  what's 
the  matter. 

(MONTY  turns  away  to  fender  with  scared  expres 
sion.     Sound  of  alarm  stops.) 

ALICE.  (Crossing  to  MICHAEL)  You  go, 
Michael.  Are  you  afraid? 

MICHAEL.  Certainly  not,  but  of  course  the 
beggar's  armed. 

LAMBERT.  (Entering  L.  u.)  The  burglar  alarm, 
sir!  The  indicator  shows  it's  Mr.  Denby's  room. 

MICHAEL.  Good  old  Lambert.  Go  ahead — we'll 
follow. 

LAMBERT.  I  brought  a  revolver  for  you,  sir. 
(Proffers  pistol — ALICE  and  NORA  shriek  and  back 
azvay ) 

MICHAEL.  Keep  it,  keep  it — you  may  need  it 
yourself.  (LAMBERT  starts,  folloived  by  MICHAEL. 
As  MICHAEL  gets  to  stairs,  ALICE  crosses  to  him) 

ALICE.  Mikey !  (He  stops,  se  is  at  his  left) 
Michael,  if  you're  going  to  be  killed,  I  want  to  be 
killed,  too. 

(The  three  exit  upstairs.) 

NORA.  (Center,  blankly)  I  don't  want  to  be 
killed. 

MONTY.  (Crossing  to  L.  of  her)  Neither  do  I. 
Great  Scott !  I  wish  I'd  never  gone  into  this. 

NORA.    Gone  into  what? 

MONTY.  (Crosses  to  center.  Teeth  almost  chat 
tering)  Nora,  I  may  get  shot  any  minute. 

NORA.    What  ? 

MONTY.  This  may  be  my  last  five  minutes  on 
earth. 

NORA.  Monty,  what  have  you  done?  (Then 
ecstatically  crossing  to  him)  Murder? 


108  UNDER  COVER 

MONTY.  If  I  come  out  of  this  alive — will  you 
marry  me? 

NORA.  Oh,  Monty — (She  goes  limply  into  is 
arms)  Why  didn't  you  ask  me  last  year? 

MONTY.  I  didn't  need  to  be  protected  then  and, 
anyhow,  it  takes  a  crisis  like  this  to  make  me  say 
what  I  really  feel. 

NORA.     I  love  you,  anyway. 

MONTY.  Gee,  if  I  don't  get  shot,  I'm  the  happiest 
man  in  the  world. 

NORA.  (Backs  away  from  him  and  taps  the 
package  in  his  breast  pocket)  What  on  earth  have 
you  got  in  your  pocket? 

MONTY.     That's  my  heart. 

NORA.    On  that  side  ? 

MONTY.  Oh,  that?  I've  almost  forgotten — it 
belongs  to  Steve.  (There  is  a  sound  of  a  police 
whistle  off  R.)  The  police  ! 

NORA.    Don't  let  them  arrest  you ! 

MONTY.    Here,  quick,  hide  behind  this  door. 

(They  exit  R.  taking  ad  lib.     DUNCAN  and  GIBBS 
enter  R.  u.) 

DUNCAN.      (Hastily   surveys   room   and   crosses 
to  stairs')     Come  on,  Harry.    He's  upstairs. 
GIBBS.     The  chief's  got  him,  sure. 

(They  exit  upstairs.  MONTY  and  NORA  come  on 
R.,  cross  as  far  as  French  zvindow,  then  to  back 
of  sofa.) 

MONTY.    This  is  awful.    Nora,  in  case  of  trouble 
you'd  better  go  into  the  next  room. 
NORA.     What  are  you  going  to  do? 

MONTY.     I'll  just  wait  for  Steve — please  go 

NORA.     I'm  not  afraid. 
MONTY.    But  I  am. 


UNDER  COVER  109 

NORA.    What  ? 

MONTY.  For  you!  For  you!  I'd  rather  face 
them  alone. 

NORA.     Don't  get  shot,  Monty  dear. 

MONTY.  Believe  me,  I'll  try  not  to.  (Kiss. 
Pause  —  NORA  keeps  hold  of  him  and  keeps  looking 
at  him)  Now,  please  go.  Please  - 

NORA.  (Backing  to  door)  All  right,  but  I  hate 
to  miss  anything.  (She 


(MONTY  attempts  to  hide  necklace  first  over  R.  on 
mantel,  then  under  pillozv  on  couch  at  L.  He 
gives  up  in  disgust  as  he  can't  find  a  satisfactory 
place;  sees  bottle  on  table  up  c.,  pours  drink 
and  is  in  the  act  of  drinking  it  when  voices  are 
heard  off  L.  u.  He  puts  drink  down  and  exits 
R.  with  annoyance.  DUNCAN,  GIBBS,  TAYLOR, 
to  c.  ;  MICHAEL,  ALICE  at  MICHAEL  L.,  come 
trooping  dozvnstairs  followed  by  ETHEL  D.  L., 
a  silent  nervous  figure.  GIBBS  and  DUNCAN 
go  to  windows,  TAYLOR  at  center,  MICHAEL 
and  ALICE  L.  center.) 

TAYLOR.    Ford  and  Hammet  are  outside? 

DUNCAN.    Yes,  sir. 

TAYLOR.  It's  moonlight  —  Denby  can't  have  gotten 
away  —  they'd  have  seen  him  - 

GIBBS.     Maybe  he's  somewhere  in  the  bushes. 

TAYLOR.  Get  out  and  search  there  —  both  of  you  — 
I'll  whistle  if  I  need  you. 

(GiBBS  and  DUNCAN  exit  through  French  window.) 

MICHAEL.  (Coming  to  TAYLOR,  nervously)  I 
want  to  beg  your  pardon,  Mr.  Taylor,  it  was  a  very 
natural  mistake  to  think  you  were  a  burglar. 

TAYLOR.  I  suppose  so  —  lucky  for  me  I  had  my 
men  here  to  prove  my  identity. 


i  io  UNDER  COVER 

MICHAEL.     (Nervously)     Surely,  surely. 

ALICE.  We  had  no  idea  Mr.  Denby  was  a 
smuggler. 

TAYLOR.    No,  of  course  you  hadn't. 

MICHAEL.     He  seemed  a  mighty  nice  chap. 

ALICE.  But  I  always  did  say  he  might  be  a 
murderer. 

MONTY.  (Coming  in  from  library  followed  by 
NORA,  ivho  goes  doivn  R.  Airily)  Hello,  did  you 
get  the  burglar? 

ALICE.     Why,  you  see  there  wasn't  any  burglar. 

MICHAEL.  It's  your  friend  who  caused  all  the 
trouble. 

TAYLOR.  Don't  explain.  (To  MONTY)  Have 
you  seen  Steven  Denby  in  the  last  ten  minutes? 

(NoRA  to  front  of  couch.) 

MONTY.     (Coolly)     No,  isn't  he  in  bed? 
TAYLOR.    No !    You  know  he  isn't — maybe  you're 
his  pal — in  on  the  job  with  him — come  here 

(MONTY  crosses  to  him  at  c.) 

ALICE.  Why,  that's  too  absurd — I've  known 
Monty  for  years. 

MONTY.     Who  is  this  man? 

TAYLOR.  Never  mind  who  I  am.  (Starts  to 
search  MONTY) 

NORA.  (Rushing  to  MONTY,  and  taking  him  in 
her  arms)  Oh,  Monty,  don't  strike  him! 

MONTY.  It's  all  right,  Nora.  (TAYLOR  is  search 
ing  him.  He  finishes  and  finds  nothing.  MONTY 
continues  with  bravado)  My  room's  three  doors 
down  from  the  landing,  if  you  want  to  search  there. 

TAYLOR.  That'll  be  enough  from  you.  I  guess 
you're  not  smart  enough  to  be  Denby's  pal — clear 
out! 


UNDER  COVER  in 

(NORA  makes  a  face  at  TAYLOR.) 

MICHAEL.    Do  you  want  us  any  longer? 

TAYLOR.  No,  leave  me  alone  to  talk  with  this 
girl.  (Indicating  ETHEL) 

ALICE.    But 

MICHAEL.  Please  keep  her  out  of  it.  I'm  quite 
sure  she's  absolutely  innocent  in  the  matter. 

TAYLOR.  Are  you?  Well,  I'd  like  to  talk  with 
her  alone. 

ETHEL.  (Crosses  to  table  facing  up-stage)  It's 
all  right.  There's  just  some  misunderstanding. 
Please  go. 

MICHAEL.    You  really  want  us  to? 

ETHEL.     Yes,  yes. 

(LAMBERT    enters    dozvnstairs    right,    coming    to 
MICHAEL.) 

MICHAEL.  Come,  Alice.  (As  they  go)  I  really 
need  a  drink. 

ALICE.  My  dear,  under  these  circumstances  you 
may  have  an  all-night  license. 

(LAMBERT  moves  towards  MICHAEL.) 

LAMBERT.  Beg  pardon,  Mr.  Harrington,  can  I 
speak  to  you  privately? 

MICHAEL.  (He  stops.  Crosses  to  SAM  at  c. 
ALICE  goes  and  waits  by  door  R.)  What  is  it? 
(LAMBERT  whispers  to  him)  What! 

TAYLOR.     Say,  what  is  all  this? 

MICHAEL.  A  long  distance  from  my  partner — 
mighty  important — excuse  me.  Alice,  I'll  use  the 
upstairs  'phone.  (He  hurries  upstairs.  LAMBERT 
exits  right) 

MONTY.     Do  you  want  me  any  longer? 

TAYLOR.    I  told  you  to  get  out. 


ii2  UNDER  COVER 

MONTY.     With  pleasure.     Come,  Nora. 
(NoRA  and  MONTY  go  with  ALICE.) 

NORA.  (Crosses  to  MONTY)  Oh,  you  are  per 
fectly  splendid.  I  had  no  idea  you  could  be  so  brave. 
(Crosses  to  ALICE  above  couch) 

MONTY.     Neither  had  I ! 

ALICE.  Don't  you  think  we  all  need  some 
champagne?  I  do. 

MONTY.  Sure.  But  on  a  night  like  this,  what's  a 
quart  among  three? 

(All  three  exit  right.     All  laugh.) 

TAYLOR.  (Turning  to  ETHEL  vindictively)  What 
did  you  mean  by  telling  them  upstairs  you'd  never 
seen  me  before? 

ETHEL.  (Beside  the  table)  You  said  under  no 
circumstances  must  I  mention  your  name. 

TAYLOR.     (Center — discomfited)     Yes,  but— 

ETHEL.  That  it  was  imperative  your  identity 
should  not  be  disclosed.  Didn't  you? 

TAYLOR.  I  suppose  that's  true,  but  when  you  saw 
me  wanting  to  prove  who  I  was 

ETHEL.  I  didn't  understand.  I  was  afraid  to  do 
anything  but  follow  your  instructions. 

TAYLOR.  Um — How  did  you  find  Denby  had  the 
necklace  ? 

ETHEL.  I  got  into  his  room  and  caught  him — he 
had  it  in  his  hand. 

TAYLOR.     Yes,  yes. 

ETHEL.  Then  he  suddenly  turned  out  the  lights 
and  in  the  dark  he  hid  it.  I  couldn't  see  where. 

TAYLOR.  Do  you  realize  what  all  this  means  to 
you — to  your  sister  if  you're  lying? 

ETHEL.  Oh,  yes,  yes,  that's  why  you  can  believe 
me. 


UNDER  COVER  113 

DUNCAN.  (Coming  hurriedly  through  French 
window}  Say,  chief,  Denby's  back  in  his  room. 

(ETHEL  gasps.     TAYLOR  turns  a  step  from  table.) 

TAYLOR.    What — how  do  you  know? 

DUNCAN.  Gibbs  got  up  on  the  pagoda — he  can 
see  into  the  room  from  there. 

TAYLOR.  (Starting  towards  windows)  Now, 
we've  got  him. 

DUNCAN.     And  Mr.  Harrington's  with  him. 

TAYLOR.    What! 

DUNCAN.  Yes,  Gibbs  said  they  were  talking  to 
gether. 

TAYLOR.  I  was  right  then,  Denby  is  smuggling 
the  necklace  for  the  Harringtons — Harrington  didn't 
go  to  the  'phone — he  got  a  message  from  Denby. 
Jim  this  is  a  big  job — get  out  there  to  make  sure  he 
don't  escape  by  the  balcony. 

DUNCAN.    Yes,  sir.     (Starts  to  go) 

TAYLOR.  Wait  a  minute.  Give  me  your  gun. 
(DUNCAN  hands  him  gun  and  exits  through  French 
windows  and  to  R.  with  a  grin)  Now,  he's  done  for 
sure. 

ETHEL.  (Advances  to  R.  lower  end  of  table)  No, 
no,  you  mustn't — you  mustn't. 

TAYLOR.  (Suddenly)  You  knew  all  the  time 
that  he'd  got  back  to  his  room;  you've  been  trying 
to  fool  me. 

ETHEL.     No,  no,  you're  wrong. 

TAYLOR.  Am  I  ?  I'll  give  you  a  chance  to  prove 
it.  Send  for  Denby,  ask  him  what  he  did  with  the 
necklace — where  it  is  now,  tell  him  that  I  suspect 
you — that  he's  got  to  tell  you  the  truth — that  you 
won't  turn  him  over  to  me — talk  to  him  as  if  you 
two  were  alone — but  I'll  be  there  (Look  around. 
Pointing)  behind  that  screen  watching  and  listening, 
and  if  you  tip  him  off,  give  him  the  slightest  warn- 


ii4  UNDER  COVER 

ing,  or  signal  I'll  arrest  you  both  anyhow.  (ETHEL'S 
hands  touch  cigarette  box  on  table}  Wrong,  am  I? 
We'll  see — and  if  you  try  to  fool  me  again — you 
and  your  sister  will  have  plenty  of  time  to  think  it 
over  in  Auburn.  (Pauses  as  TAYLOR  crosses  to 
screen)  Now  send  for  him.  (He  gets  screen  and 
places  it  up  in  corner  above  door  and  gets  behind  it. 
During  foregoing  speech  ETHEL  had  been  very 
frightened,  breathing  fast,  but  as  she  talks  her  hand 
nervously  touches  box  of  cigarettes  on  table.  She 
sees  a  way  out.  She  musters  up  all  her  bravado  and 
courage) 

ETHEL.  Of  course  I'll  send  for  him.  You'll  see 
you've  been  all  wrong  about  me.  (She  goes  tip-stage 
and  rings  bell,  and  returns  to  front  of  table  and 
picks  up  cigarette  box) 

TAYLOR.  (Snarling)  I  guess  not.  (He  adjusts 
screen  so  as  to  see  better  betzveen  the  folds) 

LAMBERT.     (Enters)     Yes,  Miss 

ETHEL.  Mr.  Denby's  in  his  room,  say  that  I'm 
here  alone  and  must  speak  to  him  at  once. 

LAMBERT.  Yes,  Miss.  (He  exits  upstairs  and 
is  heard  knocking  at  a  door.  Coming  downstairs) 
Mr.  Denby  is  coming  now,  Miss.  (He  exits  R. 
After  a  two  second's  pause  DENBY  enters  quickly 
and  comes  down  to  foot  of  stairs) 

DENBY.  Yes,  what's  happened?  Where  is — — 
(Crosses  to  French  zvindozv  and  looks  out) 

ETHEL.  (Quickly  interrupting)  Will  you  have 
a  cigarette,  Dick? 

DENBY.  (Realising  her  signal,  eyes  her  keenly) 
Thanks,  yes,  Miss  Cartwright.  (He  takes  cigarette 
from  box  she  holds  out  to  him.  He  shows  to 
audience  he  suspects  someone  is  listening,  by  look 
ing  around  the  room  sharply.  He  spots  screen,  sus 
pects  that  TAYLOR  is  there.  He  does  this  as  he 
lights  cigarette) 

ETHEL.    Now,  that  we're  alone  and  you've  beaten 


UNDER  COVER  115 

me,  I  want  you  to  tell  me  the  truth  about  the  neck 
lace.  What  did  you  do  with  it? 

DENBY.  (Calmly]  Are  you  still  persisting  in 
that  strange  delusion?  I  never  had  a  necklace. 

ETHEL.     But  I  know  you  did. 

DENBY.  Really  this  is  most  extraordinary.  We 
went  over  all  that  in  my  room — I  thought  I'd  con 
vinced  you. 

ETHEL.  That  agent  of  the  secret  service  has  been 
here — he  suspects  that  I  am  defending  you  for 
some  reason — he  won't  believe  what  I  say.  If  you 
tell  me  the  truth,  I'll  make  him  let  you  go. 

DENBY.  Are  you  quite  mad?  (Crosses  to 
ETHEL)  I  haven't  any  necklace.  Really,  Miss 
Cartwright,  I  don't  care  to  prolong  this  absurd  con 
versation. 

(LAMBERT  enters  R.  crosses  to  DENBY  at  c.) 

LAMBERT.  Pardon  me,  sir,  but  Mr.  Vaughn 
asked  me  to  take  this  to  your  room. 

DENBY.    What  is  it? 

LAMBERT.  Mr.  Vaughn  didn't  say — except  that 
it  was  very  important  that  you  get  it  at  once. 
(LAMBERT  hands  DENBY  a  package  and  exits  left} 

DENBY.  Curious !  What  on  earth  can  Monty 
be  sending  me  at  this  time  of  night — it  must  be 
important — forgive  me  if  I  open  it?  (He  does  so 
and  lets  necklace  fall  to  floor  apparently  uninten 
tionally — he  gives  exclamation — hastily  picks  it 
it  up  and  puts  it  back  in  his  left-hand  coat  pocket. 
He  is  in  front  of  lounge  at  right} 

(ETHEL  sinks  on  stool  R.  of  table,  sobbing.  TAYLOR 
knocks  down  screen,  blows  whistle  and  comes 
down  left  of  table  with  leveled  gun.) 

TAYLOR.  Hands  up,  Denby !  I  don't  know  how 
you  tipped  him  off  but  you  two  are  damned  smart, 


n6  UNDER  COVER 

ain't  you?  (GIBBS  and  DUNCAN  rush  in  from 
French  windows)  But  I've  got  you  both  you're 
under  arrest.  Boys,  take  her  into  that  room — they 
can  talk  without  speaking.  (DUNCAN  comes  dozvn 
and  gets  her.  GIBBS  crosses  to  door  L.  and  holds 
it  open)  I'll  question  'em  separately — I'll  call  you 
when  I  want  you.  ( DUNCAN,  ETHEL,  and  GIBBS 
exit  left.  ETHEL  is  'sobbing)  Well,  this  time  I've 
got  you.  (He  comes  over  with  leveled  gun) 
Where's  the  necklace?  (DENBY  starts  to  drop 
hand  to  his  right-hand  pocket)  No,  you  don't ! 
(He  puts  hand  in  DENBY'S  right  pocket  and  takes 
out  gun;  he  smiles  at  DENBY;  then  DENBY  lowers 
hand  and  produces  necklace  from  left  hand  pocket. 
As  he  looks  at  it)  It's  a  pippin,  all  right — $200,000 
for  that  ?  How  much  did  you  pay  the  girl  to  square 
yourself? 

DENBY.     Not  a  cent,  you're  all  wrong  there. 

TAYLOR.    Then  why  did  she  top  you  off  just  now? 

DENBY.     She  didn't  tip  me  off. 

TAYLOR.     Can  it — can  it — why  did  she? 

DENBY.  Well,  I  guess  she  didn't  want  to  see  me 
go  to  prison. 

TAYLOR.  Oh,  you  pulled  the  soft  stuff,  eh? 
Well,  she  tried  to  double  cross  me,  and  that  don't 
pay,  Denby,  it  don't  pay.  She'll  find  it  out  all  right. 

DENBY.  As  long  as  she  did  the  decent  thing 
by  me,  I'd  like  to  see  her  out  of  it.  You've  got 
me — let  her  go. 

TAYLOR.  No,  you'll  both  have  a  nice  little  trip 
South  to  Atlanta  for  about  five  years.  (Necklace 
in  L.  pocket) 

DENBY.     I  guess  we're  up  against  it. 

TAYLOR.      You    are,    son — right    up    against    it. 

DENBY.  Take  it  out  on  me — ease  up  on  her — • 
she's  a  woman.  After  all  t  isn't  as  if  she  were  a 
grafter — why  I  offered  her  twenty  thousand  dollars 
to  square  it. 


UNDER  COVER  117 

TAYLOR.  Tried  to  bribe  a  government  official, 
eh  ?  That  don't  make  it  any  better  for  you. 

DENBY.    Well,  you  can't  prove  it  against  me. 

TAYLOR.  (Curiously)  Twenty  thousand?  So 
you  were  trying  to  smuggle  it  for  the  Harringtons, 
eh? 

DENBY.     Suppose  we  don't  mention  any  names. 

TAYLOR.  They'll  come  out  in  the  court — twenty 
thousand  !  It  meant  a  lot  to  you — or  somebody — to 
get  this  through. 

DENBY.  Yes,  but  I'd  rather  pay  than  go  to  jail — 
see? 

TAYLOR.  Say,  what  the  hell  are  you  trying  to 
do — bribe  me? 

DENBY.  What  an  imagination  you  have — you 
couldn't  be  bribed. 

TAYLOR.     Not  on  your  life. 

DENBY.  (Meaningly)  What  a  pity  I  didn't 
meet  a  business  man  instead  of  you. 

TAYLOR.  You  couldn't  square  it  even  with  a 
business  man,  for  twenty  thousand  dollars. 

DENBY.  (Slowly)  But  I'd  give  thirty  thousand 
dollars. 

TAYLOR.     You  would,  eh? 

DENBY.  (Slowly)  I  would — cash.  (He  fishes 
down  behind  his  collar  and  produces  three  bills) 
Three  ten  thousand  dollars  bills — beauties,  aren't 
they? 

TAYLOR.  (Hypnotised  as  he  looks  at  them)  I 
didn't  know  they  made  'em  so  big ! 

DENBY.  Taylor,  this  talk  about  my  having 
bought  a  necklace  in  Paris,  is  absurd — I  haven't 
been  in  Paris  for  two  years. 

TAYLOR.     (Slowly)     You  haven't! 

DENBY.  In  case  of  a  come  back  I  have  witnesses 
to  prove  an  alibi. 

TAYLOR.     (Shzvly)     You  have ! 


u8  UNDER  COVER 

How  much  does  the  government  pay 


you , 

TAYLOR.  (Looking  at  money  fascinated}  Three 
thousand  a  year. 

DENBY.  Ten  years'  salary ! — And  these  witnesses 
of  mine — they're  reliable  witnesses. 

TAYLOR.     (Slowly)     They  are? 

DENBY.     (Eye  to  eye)     Well? 

TAYLOR.     (Slowly)     Well? 

DENBY.  Ten  years'  salary.  (Pie  crackles  bills. 
A  look  of  understanding  bctzveen  them) 

TAYLOR.  (Removes  his  hat  and  his  whole  manner 
changes  to  one  of  great  geniality,  as  he  backs  to  c.) 
Too  bad  a  mistake  like  this  should  happen. 

DENBY.     Just  a  little  inconvenient,  sometimes. 

TAYLOR.  Sorry  to  have  bothered  you,  Mr. 
Denby — but  you're  all  right.  I  figured  from  the 
first  that  you'd  be  a  business  man — that's  why  I 
let  you  slide  through. 

DENBY.  You're  pretty  smart,  Mr.  Taylor.  (Hold 
ing  out  money)  I  think  these  belong  to  you. 

TAYLOR.      (Crosses  quickly  to   DENBY,  reaching 
for  money)     Yes,  I  think  they  do. 
.   DENBY.     (Holding  money  away)    Wait  a  minute. 
How  do  I  know  you  won't  take  the  money  and  then 
double  cross  me? 

TAYLOR.     (Eagerly)     I'll  give  you  my  word. 

DENBY.  Your  -word! — That  security  isn't  good 
enough — those  two  men  of  yours — are  they  in  on  it  ? 

TAYLOR.  Not  on  your  life.  I  haven't  split  with 
anybody  for  five  years.  This  is  a  one  man  job,  Mr. 
Denby. 

DENBY.  How  can  you  square  them?  They  saw 
you  pinch  me? 

TAYLOR.  I'll  say  it's  all  a  mistake — that  I've  got 
to  call  it  off. 

DENBY.    You're  sure  you  can  get  away  with  it? 


UNDER  COVER  119 

DENBY.  Now  see  here.  This  R.  J.  of  the  secret 
service  isn't  on  to  you,  is  he? 

TAYLOR.  (Quickly)  R.  J.?  What  you  know 
about  him? 

DENBY.  Nothing,  only  we  heard  in  Paris  he  was 
busy  over  here,  investigating  this  brbery  business 
in  the  customs. 

TAYLOR.  Well,  don't  you  worry  about  him — I'm 
the  guy  on  this  job. 

DENBY.  But  I  don't  want  to  give  up  thirty 
thousand,  lose  the  necklace  and  get  pinched  as  well. 

TAYLOR.  (Eagerly)  Say,  if  you're  afraid  I'm 
going  to  ball  things  up,  I  don't  mind  admitting  to 
you  who  R.  J.  really  is — in  confidence. 

DENBY.    Who  is  he? 

TAYLOR.  Well,  he  isn't  a  thousand  miles  from 
here. 

DENBY.     What  ? 

TAYLOR.     Get  me? 

DENBY.     (Laughing)     That's  funny. 

TAYLOR.     What's  funny  about  it? 

DENBY.  Why  R.  J.'s  supposed  to  be  after  the 
grafters,  isn't  he,  and  you're  a  grafter  yourself. 

TAYLOR.    I'm  not  a  grafter — I'm  a  business  man. 

DENBY.    Well,  I  guess  I'll  take  the  chance. 

TAYLOR.     (Reaching  for  money)    That's  the  idea. 

DENBY.  (Withholding  it  again)  Provided, 
you'll  let  me  talk  to  your  men.  They've  got  to 
understand  I'm  innocent — They've  got  to  back  you 
up  in  squaring  me  with  the  Harringtons.  I'm  in 
rather  an  awkward  fix  here  just  now. 

TAYLOR.    Why,  sure — talk  your  head  oft"  to  'em. 

DENBY.    You'll  leave  the  girl  out  of  it? 

TAYLOR.  (Grinning)  111  do  more  than  that— 
I'll  leave  the  girl  to  you. 

DENEY.     Well,  here's  your  money. 

TAYLOR.  (As  he  takes  money  and  puts  it  in  his 
pocket)  Much  obliged — and  anyhow,  I've  got  no 


120  UNDER  COVER 

evidence  that  you  ever  had  a  necklace.  (He  returns 
necklace.  TAYLOR  holds  out  his  hand  which  DENBY 
shakes}  Have  a  cigar,  Mr.  Denby 

DENBY.     (Taking  it)    Thanks ;  now  call 'em  in — 

TAYLOR.  Certainly.  (Going  to  center  then  re 
turning)  And  say,  glad  to  have  met  you.  Next 
time  you're  landing  in  New  York  and  I  can  be  of 
use — you  know — (Calling)  Duncan!  Gibbs! 
( GIBBS,  to  above  table,  enters.  ETHEL  enters — 
crosses  to  left  of  table.  DUNCAN  enters,  crosses 
to  above  table — TAYLOR  to  c.)  Say  boys,  it's  all  a 
mistake. 

DUNCAN  and  GIBBS.     (Together)     What! 

ETHEL.     (Under  her  breath)     Thank  God. 

TAYLOR.  Our  dope  was  phony — we  were  in  all 
wrong,  but  he's  been  very  nice  about  it — very  nice 
indeed.  It's  just  a  case  of  mistaken  identity — but 
he's  all  right — let  the  lady  go,  boys. 

(ETHEL  goes  down  L.  to  fender,  GIBBS  crosses  to 
right  upper,  and  DUNCAN  to  upper  left  of 
table.) 

DENBY.  (Crossing  up  c.)  Now,  I  don't  want 
any  come  back  to  all  this — I  want  you  all  to  under 
stand  the  facts,  if  you  don't  mind  waiting,  Miss 
Cartwright. 

ETHEL.    Of  course  I'll  wait.     (Sits  on  fender) 

TAYLOR.  Listen  to  him,  boys — you  see  he's 
anxious  to  straighten  things  out.  So  tell  him  any 
thing  he  wants  to  know — (To  DENBY)  Fire 
ahead.  (Behind  lounge  R.) 

DENBY.  (To  DUNCAN)  Well,  you  got  a  tip 
from  Harlow  that  a  Steven  Denby  had  brought  a 
necklace  at  Carders' 

DUNCAN.    Yes,  sir. 

DENBY.  (To  GIBBS)  Then  you  got  a  wireless 
that  Denby  had  sailed  with  a  Mrs.  Harrington, 


UNDER  COVER  121 

which  threw  suspicion  on  her  as  a  possible  smuggler. 

GIBBS.    That's  right,  too. 

DENBY.  And  yet  you  fellows  let  Denby  slip 
through  the  lines  at  the  pier  to-day  without  a 
search — why  was  that? 

TAYLOR.  (Worried)  We  didn't  have  any 
absolute  evidence  to  arrest  him  on. 

DENBY.  But  after  he  got  through — you  received 
an  anonymous  telegram  late  this  afternoon  that 
Denby  carried  the  necklace  in  a  tobacco  pouch, 
didn't  you? 

TAYLOR.  (Crossing  to  DENBY  quickly)  How 
did  you  know  that? 

DENBY.    Oh,  I  found  it  out  to-night. 

TAYLOR.  (Coming  to  him)  What  is  all  this, 
anyhow  ? 

DENBY.  You  don't  object  to  your  men  answering 
my  questions?  (Meaningly)  I  was  pretty  nice  to 
you,  Mr.  Taylor. 

TAYLOR.  (Embarrassed,  remembering  the  money) 
No,  that's  all  right — go  ahead.  (He  returns  behind 
couch) 

DENBY.  (To  GIBBS)  You  knew  about  that  tip 
in  the  telegram? 

GIBBS.     No,  this  is  the  first  we've  heard  of  it. 

DENBY.     (To  TAYLOR)    Oh,  you  didn't  tell  them ? 

TAYLOR.    That  was  my  own  business. 

DENBY.  Did  it  ever  occur  to  you  boys  that  it  was 
rather  peculiar  that  this  supposed  smuggler  wasn't 
searched — that  he  got  through  without  the  slightest 
trouble. 

GIBBS.  Why  the  chief  didn't  want  to  get  in  any 
mix-up  with  the  Harringtons,  in  case  he  was  wrong 
about  Denby. 

DENBY.    Oh,  that's  what  he  told  you. 

DUNCAN.    It  sure  was. 

DENBY.  Don't  you  boys  know  the  whole  job 
looks  very  much  as  if  the  scheme  was  to  let  Denby 
slip  through  and  then  blackmail  him? 


122  UNDER  COVER 

DUNCAN.     I  never  thought  of  that. 

GIBBS.     Me  neither. 

TAYLOR.  (Nervously,  crossing  to  DENBY)  What's 
all  this  got  to  do  with  you?  I  admit  it  was  a  mis 
take  and  we're  sorry  about  it.  That's  all — come  on, 
you  fellows.  (Starts  toward  door  R.) 

DENBY.  Just  a  moment.  (To  DUNCAN  and 
GIBBS.  TAYLOR  slowly  drops  down  right)  Don't 
you  realize  that  it's  rather  a  dangerous  thing  to 
monkey  with  the  United  States  Government? 

GIBBS.  I  haven't  been  monkeyin'  with  the 
government ! 

DUNCAN.     Neither  have  I. 

TAYLOR.  But,  it's  all  settled,  now  that  we  know 
you  never  had  a  necklace. 

DENBY.     That's  clearly  understood? 

TAYLOR.    What  I  say  is  right. 

DENBY.  But  you  see,  boys,  he's  wrong.  I  did 
smuggle  a  necklace  through  the  customs  to-day. 
(He  shows  it.  ETHEL  rises) 

DUNCAN,  GIBBS  and  TAYLOR.    W7hat? 

TAYLOR.  (Quickly  crossing  to  DENBY)  Then 
you're  under  arrest. 

DENBY.  No,  I'm  not.  (To  others)  He  caught 
me  with  the  goods  and  I  paid  him  thirty  thousand 
dollars  to  square  it. 

TAYLOR.  (Threateningly,  with  upraised  fist) 
Why— you,  I'll- 

DENBY.  (Pulling  down  his  hand)  You  won't 
do  anything — you're  only  a  bully — you  couldn't 
graft  on  your  own — you  had  to  drag  a  girl  into  it — 
you  made  me  do  some  pretty  rotten  things  to-night 
to  land  you.  I've  had  to  make  that  girl  suffer,  but 
now  you're  going  to  pay  for  it.  I've  got  you — 
you're  under  arrest. 

TAYLOR.  Aw,  quit  your  bluffin' — you  can't  arrest 
me,  Denby. 

DENBY.     I'm  not  Denby — my  name  is  Jones. 


UNDER  COVER  123 

TAYLOR.    Well,  who  the  hell  is  he? 

DENBY.  Oh,  yes,  you  and  the  boys  don't  know 
who  I  am — here's  my  commission — (Handing 
GIBBS  parchment)  That's  my  photograph — a  fairly 
good  likeness,  isn't  it? 

DUNCAN.  (Who  has  crossed  to  GIBBS  L.,  leans 
over  his  shoulder}  Yes. 

GIBBS.  (Lookng  at  paper)  Sure.  Why,  this 
thing's  made  out  to  Richard  Jones. 

DENBY.    Well,  do  you  get  the  initials,  boys? 

DUNCAN.  (Reading  initials  without  realising 
their  significance)  R.  J. 

DENBY.  That's  me — R.  J.  of  the  United  States 
Secret  Service.  (Turns  and  looks  at  TAYLOR  smil 
ingly.  TAYLOR  gives  an  amazed  gasp  and  backs 
a  step  or  two  azvay.  ETHEL  crosses  part  way  to 
table  and  stands  facing  up-stage) 

GIBBS.  (Shaking  hands  zvith  DENBY)  Are  you 
really  R.  J.  ? 

DENBY.  (Smiling  and  shaking  hands)  I'm 
afraid  I  am. 

TAYLOR.    It's  a  lie. 

DENBY.  (Pointing  to  paper)  You  can't  get 
away  from  that  signature — it's  signed  by  the 
President  of  the  United  States. 

TAYLOR.    I  tell  you  it's  a  fake. 

DENBY.     They  don't  seem  to  think  so. 

DUNCAN.     This  is  on  the  level  all  right. 

( GIBBS  looking  at  it  and  him,  takes  it.) 

DENBY.  Taylor,  for  three  years  the  government 
has  been  trying  to  land  the  big  blackmailer  in  the 
customs — we  set  a  trap  for  him  with  a  necklace  as 
bait.  The  whole  thing  was  a  plant  from  Harlow's 
tip  to  my  dropping  the  necklace  here  just  now — 
and  you  walked  into  it. 

TAYLOR.  (Coming  to  him  threateningly)  Say, 
you-  can't  get  away  with  this. 


124  UNDER  COVER 

DENBY.  Wait  a  minute.  You've  been  in  the 
service  long  enough  to  know  that  the  rough  stuff 
won't  go — you'll  only  get  the  worst  of  it — so  take 
it  easy.  (To  DUNCAN  and  GIBBS  and  taking  com 
mission  from  GIBBS)  Take  him  along  boys — I  was 
mighty  glad  to  find  out  just  now  that  you  fellows 
weren't  in  on  it — keep  the  necklace  for  me.  Exhibit 
A — it's  a  fake — (Comes  down  to  front  of  table) 

GIBBS.  And  I've  been  working  for  a  crook  for 
two  years  and  never  knew  it!  ( GIBBS  and  DUNCAN 
cross  over  near  windows) 

TAYLOR.  (Goes  down  to  DENBY  furiously} 
Damn  you,  you've  got  me  all  right,  but  I'll  send  that 
girl  and  her  sister  up  the  river.  I'll  get  even — 
you're  stuck  on  her  and  she  goes  with  me. 

DENBY.  Oh,  I  think  not.  You  forget  that  Mr. 
Harrington's  vice  president  of  the  New  York 
Burglar  Insurance  Company  and  a  very  good  friend 
of  Miss  Cartwright's.  I  saw  him  upstairs. 

ETHEL.     (Under  her  breath}     Thank  God. 

TAYLOR.  Oh,  get  me  out  of  this.  (As  he  goes 
up  to  French  windows) 

DENBY.  Oh,  just  a  minute,  I'll  trouble  you  for 
that  thirty  thousand. 

TAYLOR.  (Turning  to  him}  You  think  of  every 
thing,  don't  you? 

DENBY.  (To  ETHEL)  You  see,  I  borrowed  it 
from  Monty — he's  been  a  great  help  as  an  amateur 
partner.  (Crosses  to  TAYLOR)  He'll  be  glad  you're 
out  of  the  way,  Taylor.  You  quite  frightened  him. 

TAYLOR.  (Going  to  him)  There's  your  thirty 
thousand. 

DENBY.    Thanks.    There's  your  cigar. 

TAYLOR.  (Sticking  cigar  in  his  pocket — then  with 
bravado}  Well,  it  took  the  biggest  man  in  the 
secret  service  to  land  me,  Mr.  R.  J.  But  I've  got 
some  mighty  good  pals  in  some  mighty  good  places 
who'll  come  across  for  me.  After  all,  you're  not 


UNDER  COVER  125 

the   jury   and   all   the   smart   lawyers   aren't   dead 
yet. 

GIBBS.    Aw,  come  on,  you  dirty  grafter. 

(The  three  exit  at  French  windows.) 

DENBY.  (To  ETHEL)  I'm  sorry  I  had  to  leave 
you  alone  as  I  did,  but  I  wanted  to  arrange  matters 
with  Mr.  Harrington  about  your  sister,  so  Taylor 
would  have  no  come  back. 

ETHEL.  (Crosses  to  R.  end  of  table)  And  you 
are  really  R.  J. ! 

DENBY.  I  really  am.  I  did  want  to  tell  you  be 
fore,  but  I  couldn't  be  sure  you  weren't  Taylor's 
accomplice  until  you  told  me  about  your  sister.  I 
had  my  job  to  do  for  the  United  States — I'm  only 
a  soldier — I  was  under  orders,  but  I  wish  I  hadn't 
had  to  make  you  suffer. 

ETHEL.  (Crosses  toward  DENBY  a  step)  And 
everything's  all  right  now?  (DENBY  backs  toward 
doors  R.  as  far  as  center.  ETHEL  crosses  to  DENBY 
and  above  him) 

DENBY.     Yes,  and  I'll  tell  you  all  about  R.  J. 

ETHEL.  How  silly  of  me  to  think  that  you  were 
a  criminal. 

DENBY.    But  you  see  you've  caught  me ! 

ETHEL.  But  have  I  really — (Pauses)  got  you, 
Steve?  (She  goes  in  his  amis  as 

Curtain  falls 


126  UNDER  COVER 


ACT  I 


Ring  Curtain  up. 
— Come,  Amy. 


(AMY  and  ETHEL  start  for  door,  up  left.) 

Phone  rings. 
—I  shall  not  fail  you. 
Warning  for  curtain. 
— Necklace  for  me  to-night. 
Ring  curtain  down. 

ACT  II 

Ring  curtain  up. 
— (At  rise) 

Auto  horn  is  heard  in  distance. 
You  can  rely  on  me. 

Auto  horn  heard  in  two  short,  full  blasts. 

— Oh,  I  don't  particularly  mind. 

Dinner  chime. 
— Yes,  do. 

After  Michael  and  Alice  exit. 

Auto  and  auto  horn  in  distance. 

(ETHEL  comes  up  to  French  windows.) 

Auto  stops  and  auto  horn  heard  in  one  short  full 
blast, 
-to  see  if  N.  Y.  was  finished  vet. 


Piano  off-stage  right,  playing  chorus  of  "  I  Loved 
you  a  Thousand  Years  Ago." 

a  thrill  against  prison. 

Piano  stops. 
the  boys  calling  La  Presse. 


UNDER  COVER  127 

Piano  off-stage  right  plays  chorus  of  "  Un  Peu 

d'Amour." 
-All  the  way  home  out  of  pity. 


Piano  stops. 
— You  get  Denby  to-night.      (TAYLOR  exits) 
Dinner  chime. 
—We'll  grab  him  there. 
Warning  for  curtain. 
—You're  here  and  I'm  hungry. 
Ring  down  curtain. 

SCENE  II 


— After   the   curtain   is   down   thirty   seconds 
Ring  curtain  up. 
(Curtain  rises  on  dark  stage  with  moonlight  at 

French  windows.) 

— Lambart  goes  to  light  switch  and  pushes  it. 
All  lights  on. 

Easy — Easy!"        (DENBY     pushes     light 


switch  ) 

Lights  off. 

— "  Come  away,  Monty."    (DENBY  pushes  light 
switch') 

All  lights  on. 

— "  Good-night,  Mr.  Denby." 

Warning  for  curtain. 
-"  Oh,  damn  the  necklace." 


Ring  curtain  down. 

ACT  III 

Ring  curtain  up. 

Curtain  rises  on  dark  stage. 
— Ethel  turns  on  lamp. 

Amber  and  pink  foots  l/%  up. 
— Ethel  turns  off  lamp. 

Foots  out. 


128  UNDER  COVER 

Aah !  "    Denby  sighs  and  pushes  switch. 


Foots  and  border  full  up. 
—Denby  reaches  hand  out  in  hall  as  if  turning 
switch. 

Operator  pulls  strip  in  hall. 

Well,    Monty."      (DENBY   pushes   switch) 


All  lights  out,  except  moonlight. 

(After  MONTY'S  exit  see  that  center  door  is  securely 
buttoned  from  the  outside,  so  it  won't  come 
open  when  ETHEL  is  pushing  it) 

—Ethel  crosses  stage  and  gets  to  table,  pulling 
drawer  as  Denby  turns  switch. 

Lights  up. — Light  back  of  door  up  center  on. 
-"  But  you  can't  do  it !  " 


Clock  strikes  three. 
— "  Oh,  you  are  a  man  after  all." 

Police  whistle  off  right. 
— Taylor's  entrance  through  window  R. 

Lens  lamp  down  right,  off. 
— When  Denby's  strikes  burglar  alarm. 

Switch  on  alarm  gong  and  all  lights  out. 
— After  pistol  shot. 

Turn  off  alarm  gong. 


Turn  on  the  lights." 


All  lights  up. 
— "  He's  a  burglar,  I  caught  him." 
Warning  for  curtain. 

— "  It's  all  right  Miss  Cartwright,  it's  all  right." 
Ring  curtain  down. 

ACT  IV 

Ring  curtain  up. 
—"We're  playing  bridge." 
Clock  chimes  three  off  L. 
— "  I'm  not,  I'm  thirsty." 
Switch  on  burglar  alarm  gong. 


UNDER  COVER  129 

— "  The  alarm's  probably  gone  off  by  accident." 
Pistol  shot  off  L. 

— "  Go  on,  Monty,  find  out  what's  the  matter." 
Stop  sound  of  burglar  alarm. 
— "  It  belongs  to  Steve." 
Police  whistle  off  R. 

-"  Aw,  come  on,  you  dirty  grafter." 
Warning  for  curtain. 

"  Have  I  really  got  you,  Steve." 
Ring  curtain  down. 

PROPERTY  PLOT 


ACT  I 

Office  of  a  Deputy  Surveyor  of  the  Port  of  New 
York  in  the  Customs  House,  New  York  City. 

i  Green  carpet  to  cover  stage. 

4  Yellow  shades  on  bay  window  up  right. 

I  Arm  office  chair,  down  right  below  door. 

i   Single  office  chair  up  right  in  bay  window. 

13x5  flat  top  desk,  up  right. 

I   Swivel  chair,  back  of  desk  up  right. 

i   Arm  office  chair,  left  of  desk  up  right. 

i  Trash  basket,  below  desk  up  right. 

On  desk  up  right — 'phone  book — desk  blotter — plain 
pad  white  paper — 2  letter  baskets — paper  in 
letter  baskets — safety  matches — in  match  holder 
— daily  desk  calender — double  ink  well — pens — 
pencils. 

I  Loaded  revolver  in  upper  right  drawer  of  desk 
up  right. 


130  UNDER  COVER 

i  2,y2  ft.  bulletin  board  on  wall  R.  of  door.    Bulletins 

on  board. 

i  Hat  tree,  up  center  R.  of  center  door. 
i  Water  bottle  and  stand  and  drinking  glass,  up 

c.  L.  of  bay  window. 

i  Postal  call  box  on  wall  up  L.  c.  left  of  door. 
I  Western  Union  call  box  on  wall,  up  L.  c.  left  of 

door. 

1  Arm  office  chair,  up  L.  c.  left  of  door. 

2  Filing  cabinets,  up  L.    Corner,  5  feet  high,  4  feet 

wide. 

Electric  fan  on  filing  cabinet. 

I   Small  flat  top  desk,  down  L.  c. 

i   1 8  in.  stool,  R.  of  desk  down  left  center. 

i  Arm  office  chair,  back  of  desk  down  left  center. 

I  Arm  office  chair,  down  left. 

i  Framed  steamship  picture  on  wall  up  L.  c.  left  of 
door  at  c. 

i  Framed  steamship  picture  on  wall  down  left  be 
low  left  door. 

On  desk  down  L.  c. — phone — phone  book — 2  letter 
baskets,  letters  and  papers  in  baskets — desk 
blotter — letter  clip — letters — double  ink  well — 
pens — pencils — pad — safety  match  safe — safety 
matches — four  or  five  papers  clipped  together, 
on  right  end  of  desk. 

i  Trash  basket,  left  of  desk  down  left  center. 
OFF-STAGE. 

For  SARAH — Off  L.  c. — Parasol  with  stone  studded 

large  ring  handle,  painted. 
For  GIBBS — Off-stage  right — cigar,  matches. 
For  DUNCAN — Off-stage  left — cigar. 
For  TAYLOR — Off-stage  right — cigar. 
Off-stage  right — door  slam. 


UNDER  COVER  131 

AT  THE  HARRINGTONS'. 


ACT  II 

I  Gray  carpet  to  cover  stage. 

Gray  carpet  on  step  and  platform — up  left, 
i  Consul  table — down  right. 

1  Small  brass  fern  dish  and  fern  on  consul  table. 

2  Small  silver  framed  pictures  on  consul  table. 
I   Single  chair  in  front  of  consul  table. 

i   Small  round  table,  down  right,  R.  of  settee. 

i  Vase  of  flowers  on  table. 

i  Ash  tray  on  table. 

i  Safety  match  safe  and  matches  on  table. 

1  Settee,  down  R.  c. 

2  Pillows  on  settee. 

i   Small  square  table,  up  right. 

1  Vase  of  flowers  on  square  table,  up  right. 

2  Small  silver  framed  pictures  on  square  table,  up  R. 
i  Armchair,  up  right. 

i  Single  chair,  up  center, 

i  Oval  table,  up  center. 

1  Vase  of  flowers  on  table,  up  center. 

2  Small  silver  framed  pictures  on  table,  up  c. 
i  5  foot,  3  fold  screen,  up  left. 

i  Tapestry  Top  Club  fender  in  front  of  fireplace, 

left. 

i  Set  of  fire  irons  at  fireplace  left, 
i  Pair  of  fire  dogs  at  fireplace  L. 
i   Gold  clock  on  mantel,  left. 

3  Small  silver  framed  pictures  on  mantle,  left. 

i  Silver  cigarette  box  with  cigarettes  in  on  lower 

end  of  mantel,  left. 
I  Four  foot  table,  down  L.  c. 
i  Small  low  pot  of  flowers  in  the  center  of  table, 

down  L.  c. 


132  UNDER  COVER 

3  Ash  trays  on  table,  down  L.  c. 

i  Safety  match  holder  and  matches  on  table,  down 
L.  c. 

Silver  tray  with  champagne  bottle,  glass  and  a  bottle 
of  clysmic  on  it,  on  table  down  L.  c. 

i   Newspaper  on  table  down  L.  c. 

Cigarettes  box  on  table  at  L.  c. 

i  Single  chair  L.  of  table,  down  L.  c. 

i  Low  seat  stool  in  front  of  table  down  L.  c. 

i  Low  seat  stool  right  of  table  down  L.  c. 

I  Armchair  left  of  table  down  L.  c. 

On  2  doors  right — lace  curtains — yellow  silk  cur 
tains. 

On  4  French  windows  up  right — lace  curtains — 
yellow  silk  French  drop  curtains. 

Silk  curtains — practical. 

A  bouquet  of  palms  and  roses  in  fireplace. 

A  fern  box  filled  with  ferns  the  length  of  the 
window,  under  transparent  window  on  stair 
case  at  up  L.  c. 

A  tub  on  flowers  and  palms,  one  each  side  of  up  R.  c. 
arch. 

On  arch  up  right — silk  portieres  tied  back — reach 
from  top  of  arch  to  floor. 

On  arch  up  left,  silk  portieres  tied  back — reach  from 
top  of  arch  to  platform. 

i  Arm  Garden  chair — up  right  at  garden  drop. 

OFF-STAGE. 

For  butler — Card  on  tray  off  L.  on  lower  platform. 

For  ladies — Cigarettes  off-stage  right. 

For  ETHEL — Fan — up  on  platform. 

For  DENBY — Two  tobacco  pouches  (alike)  with 
cigarette  tobacco,  cigarette  papers,  match  safe 
and  matches.  Necklace  of  pearls — off-stage 
right. 

For  ALICE — Piano  and  stool — off-stage  right — and 


UNDER  COVER  133 

two  pieces  of  music  namely :  "  I  Loved  you  a 

Thousand  Years  Ago." 
For  TAYLOR — Legal  papers — up  right, 
i  Auto   horn  with  mute — and  vacum  cleaner   for 

auto  effect,  off-stage  R. 

i   Dinner  gong  and  striker — off-stage  right. 
Vines  on  pillars  of  porch. 
Grass  mats  along  bottom  of  garden  drop  back  of 

arbor. 

ACT  III 

i  Brown  carpet  to  cover  floor. 

i   Single  walnut  chair — down  right. 

i   Yellow  silk  French  curtain — practical — on  French 

window    R.    with    hook    on    up-stage    side    of 

window  frame  to  hold  curtain  up. 
I  Pair  curtains  and  Valence  on  French  window — 

right. 

I   Single  walnut  chair — up  right. 
15x3  walnut  table  with  drawer  in  it  at  down 

R.  c. — drawer  up-stage. 

i   Single  walnut  chair — back  of  table — down  R.  c. 
i  Arm  walnut  chair — left  of  table — down  R.  c. 

On  table  down  right  center — 2  books — desk  pad — 
ink  well — blotter,  pens — pencils — pad  of  white 
paper — large  metal  paper  knife. 

i   Pair  curtains  and  valence  on  arch  to  bedroom — 

up  right. 

i  Brown  hat  tree  in  bedroom — right  side  of  arch. 
Denby's  lounging  coat  on  hat  tree, 
i  Brass  bed  in  bedroom — just  inside  of  arch  with 

head  to  left. 
i   Spring  on  brass  bed. 
I   White  counterpane  on  brass  bed. 
i   Green  armchair — up  right  corner  of  bedroom. 


134  UNDER  COVER 

1  Walnut    stand    up    center    of    bedroom    under 

window. 

2  Books  on  stand  in  bedroom. 

I  Pair  curtains  on  window  in  bedroom. 

i  Bookcase — up  center. 

i  Heavy  match  safe  and  matches — on  left  end  of 

bookcase — up  c. 

i  Tobacco  jar  on  right  end  of  bookcase  up  c. 
i  Silver  framed  photo  in  center  of  bookcase  up  c. 
i  Bookcase — up  L.  c.  left  of  door, 
i  Blue  vase  on  right  end  of  bookcase  up  L.  c. 
i  Small  silver  framed  photo  on  center  of  bookcase 

up  L.  c. 

i  Glass  vase  of  flowers  on  the  left  end  of  book 
case  up  L.  c. 

i  Bookcase — up  left  above  door. 
i  Small  blue  vase  on  lower  end  of  bookcase  up  left 

above  door. 
I  Small  silver  framed  photo  on  center  of  bookcase 

L.  above  door. 

i  Bookcase  down  left  below  door, 
i   Small  blue  vase  on  upper  end  of  bookcase  left 

below  door. 
I  Match  safe  and  matches  on  center  of  bookcase  L. 

below  door. 

1  4  foot  brown  couch — at  L.  c. 

2  Brown  pillows  on  couch. 

1  Small  square  table  on  upper  end  of  couch. 

2  Books  on  table. 

I  Small  vase  of  flowers  on  table. 

i  Small  silver  framed  photo  on  table. 

i  Key  in  lock  off-stage  side  of  door  at  left. 

I  Key  in  lock  of  door  u.  c. 

OFF-STAGE. 
For  DENBY — Cigarette  case  and  cigarettes. 


UNDER  COVER  135 

For  HARRINGTON — Small  silver  tray  with  two  high 
balls — off-stage  center. 
For      TAYLOR — Loaded      revolver — papers- -police 

whistle — off-stage  right. 
Chimes  and  hammer  off-stage  up  left. 
Practical  locks  with  keys  to  fit  on  door  up  c.  and 
down  L. 

ACT  IV 
Same  as  Act  II. 

Fern  dish  removed  from  table  at  L.  c. 
Round  table  at  L.  c.  is  moved  part  to  the  right  and 
i  foot  down-stage  for  this  act  only. 

Single  chair  left  of  table  at  L.  c. 
i  Stool  right  of  table  at  L.  c. 

1  Stool  below  table  at  L.  c. 
Armchair  at  upper  side  of  table  at  L.  c. 

2  Packs  of  playing  cards. 
2  Bridge  score  cards. 

Silver  cigarette  case  from  mantle  to  table. 
Clock  chimes  as  in  Act  III. 

i   Silver  tray — decanter  of  whiskey  and  2  whiskey 
glasses  on  table  up  c. 

OFF-STAGE. 

For  LAMBERT — Revolver  loaded — necklace  in  white 

paper  off  R. 
For  TAYLOR — Police  whistle — cigar — papers  in  his 

pocket. 

For  DUNCAN — Revolver. 
For  MONTY — White  package  supposed  to  contain 

pearl  necklace. 
For  DENBY — 3  Ten  thousand  dollar  bills — parchment 

commission  with  photo  on  it. — Revolver. 


136  UNDER  COVER 

ELECTRICAL  PLOT 


ACT  I 

Foots — white  and  amber — full  up  for  entire  act. 
Concert  border — white  and  amber  full  up  for  entire 
act. 

i — 6    Lamp    strip — amber    and    white — over    door 

down  right. 
2 — Olivettes — straw  medium — down  right  below  bay 

window  to  light  drop. 
3 — 10   Lamp   strips — white — between   bay   window 

sections  to  light  drop. 
2 — Olivettes — straw  medium — up  right  center  above 

bay  window  to  light  drop, 
i — 6  Lamp  strip — amber  and  white — over  door  up 

L.  c. 
i — 6    Lamp    strip — amber    and    white — over    door 

down  left. 
I — 3    Button   board — practical   buzz — on    desk   up 

right — buzz  in  drawer  of  desk, 
i — 2  Button  board — practical  buzz — on  desk  down 

L. — buzz  in  drawer  of  desk. 
2  Phones — one  on  each  desk. 
i  Phone  bell — off-stage  to  work  on  cue. 
I   Indirect  chandelier  in  center  of  stage  not  practical. 
i — 2  Way  flush  switch  on  wall  right  of  center  door. 

ACT  II 

Foots — straw  and  pink — full  up  for  SCENE  I — off 
at  end  of  SCENE  I — on  and  off  on  cues  during 
SCENE  II. 

Concert  border — straw  and  pink — full  up  for  SCENE 


UNDER  COVER  137 

I — off  at  end  of  SCENE  I — on  and  off  on  cues 

durinp  SCENE  II. 
I  Bell   push   button   on   wall   below   fireplace — not 

practical, 
i — 2  Way  push  switch — not  practical — on  wall  up 

c. 

1  Bell  push  button  on  wall  up  c. — not  practical. 

2  Olivettes — straw    medium — up    right    on    garden 

drop — change  to  blue  medium  for  SCENE  II. 

I  Lens — amber  medium — up  right  on  garden  drop 
— change  to  blue  medium  for  SCENE  II. 

I  Olivette — amber  medium — up  left  back  of  trans 
parent  window — change  to  blue  medium  for 
SCENE  II. 

i  Bunch — white  above  French  doors  right. 

i — 2  Light  bracket  yellow  shade  on  wall  below  fire 
place — practical  on  and  off  at  cue. 

I — 2  Light  bracket  yellow  shade  on  wall  above  fire 
place — practical  on  and  off  at  cues. 

I — 2  Light  bracket  yellow  shade  on  wall  up  right — 
R.  of  arch,  practical — on  and  off  at  cues. 

i — 2  Light  bracket  yellow  shade  on  wall  up  center 
between  2  arches — practical — on  and  off  at 
cues. 

A  standing  electric  lamp  with  pink  shade  stands 
to  right  of  French  windows  up  right. 

NOTE:     Brackets  standing  lamp  border  and  foots 
work  on  one  switch  at  switch  board. 

ACT  III 

Foots 

Concert  Border — Amber,  white  and  pink — 2/3  up. 

i — 2  Way  push  switch — on  wall  up  center  R.  of 

door — not  practical. 
I — Burglar  alarm   box — up   center   on   wall   R.   of 

door — not  practical. 


138  UNDER  COVER 

3 — 2  Lamp  brackets  on  wall — practical — on  and  off 

at  cues. 
i  Set  of  alarm  bells  different  sizes  distributed  around 

the  stage.    Practical — worked  from  one  switch 

in  first  entrance. 
i  Olivette — Blue     medium — down     right   to    light 

backing. 
i  Lens — blue   medium — down  right  to  light  table 

right.     This  light  off  after  Taylor's  entrance 

through  French  window  right. 
i  Olivette — blue  medium — back  of  bedroom  window 

up  right, 
i — 2  Lamp  strip — amber  and  white  over  door  up 

left.     Out  when  Denby  reaches  out  in  hall  to 

turn    off    hall    light,    on    again    when    Denby 

switches   on  brackets   and   discovers   Ethel  at 

his  desk. 
i  Bell  push  button — on  wall — up   center   right  of 

door — not  practical, 
i — 2  Lamp  bracket  yellow  shade  on  wall  down  L. 

below  door, 
i — 2  Lamp  bracket  yellow  shade  on  wall  up  center 

between  door  and  arch, 
i — 2  Lamp  bracket  yellow  shade  on  wall  up  left  to 

the  left  of  arch. 
I  Lamp  on  table  center — practical. 

NOTE:     Wall  brackets,  foots  and  border  work  on 
one  switch  from  switch  board. 


ACT  IV 

Stage  lit  as  in  SCENE  II — ACT  II. 
Burglar  alarm  as  in  ACT  III. 
Foots — Amber  and  pink. 
Concert  border — Amber  and  pink. 


UNDER  COVER  139 

ELECTRIC  EQUIPMENT 

3 — 6  Lamp  strip. 

i — 2  Lamp  strip. 

4  Olivettes. 

4 — 10  Lamp  strip. 

i — 3  Button  board  and  buzz. 

i — 2  Button  board  and  buzz. 

2  Phones. 

3  Bell  push  buttons. 

2 — 2  Way  push  switch. 

1  Lens  lamp. 

2  Bunches. 

4 — 2  Light  brackets  Act  II. 
8  Yellow  shades  Act  III. 
3 — 2  Light  brackets, 
i  Burglar  alarm  box. 
i  Set  of  3  electric  alarm  bells. 
i  Table  lamp — practical, 
i  Phone  bell—" 

i — Doz.       color       frames — blue — straw — amber — 
gelatine. 

CURTAIN  CALLS 


ACT  I 
i  Everybody  in  the  act  for  all  calls. 

ACT  II 
i  Everybody  on  all  calls. 

ACT  III 
I   Picture. 


i4o  UNDER  COVER 

2  Everybody. 

3  Denby,  Ethel  and  Taylor. 

4  Ethel. 

5  Denby. 

6  Denby,  Ethel,  Taylor. 

7  Denby — Ethel. 

ACT  IV 
I  Picture. 

RUNNING  TIME  OF  ACT 

ACT  I.  33-34- 

ACT  II.  48. 

ACT  III.  29-30. 

ACT  IV.  26. 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


JUN  06  200 


Form  L9-100m-9,'52(A3105)444 


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